This dissertation proposes a radical contextualization of Brazilian Black women with Bahia’s pagodão as an analytical entry point, from a perspective that articulates cultural studies and Black feminisms. The initial hypothesis is that different temporalities and identitarian and affective engagements (GOMES; ANTUNES, 2019) are articulated with/on/through racialized and gendered bodies in Brazil, and pagodão appears as a place of struggle,
conformation and intersection of these engagements. We take radical contextualization (GROSBERG, 2010) as a theoretical-methodological approach that seeks the possibilities of social transformation through the articulation, disarticulation and rearticulation of contexts. We assume affective engagements as "organized in and through discursive and cultural practices, mobilizing political engagements" (FARIAS, 2021). Investigating pagodão and its
articulations with identity engagements (of race and gender) from the perspective of black feminisms (COLLINS, 2019; hooks, 2019; NASCIMENTO, 2021; LORDE, 2020; DAVIS, 2016; GONZALEZ, 2020), we will see how the genre is mobilized as a confrontation with Western, white and colonial expectations of respectability and morality, and, at the same time, can promote the reiteration of cisheteronormative behaviour and the hypersexualization of Black women. We propose an analysis based on the figure of the mucama, introduced by Lélia Gonzalez (2020), which is spun into two other notions: the maid and the mulata, which, in contemporary times, reconfigured in figures such as the piriguete and the businesswoman, allow us to see affective struggles around ideas such as success, empowerment, visibility and sexual freedom. Thus, in order to radically contextualize Brazilian Black women in/with pagodão, based on elements from the different temporalities that this musical genre articulates - as proposed by Raymond Williams (1979) - and the affects that engage and are mobilized by the artists, we have connected a wide range of materials: music and lyrics; demographic data; music videos; interviews; comments, posts, memes, videos and other online publications made by audience members; recordings of live shows; archives of websites dedicated to the genre; among other materials. In this way, we investigate the relationships between Black feminisms, identity struggles, history, economics, politics and culture in contemporary Brazil, articulated around pagodão in Bahia.

From the encounter with João do Crato's art, sensibilities emerged that made it possible to reflect on the territory and identity of Cariri in Ceará. The methodology included a sentimental cartography to give way to the emerging affects during the monitoring of the artist's subjective processes. We sought to perceive and understand the communicational and political processes produced by the artist's bodily practices. Throughout the research, new sensibilities and affects emerged in the meeting with Rondinele Furtado with his drag act Transrústica and Marciano Souza, with his drag singer, Mc Amana. There was the possibility that the aesthetic construction (based on bodily expressions, artists and archives) of artists would destabilize the common regarding territory and identity. Concepts such as performance and artivism of sexual and gender dissidences helped to understand how these people tensioned the hegemonic memory of the Cariri. Therefore, dialogues with the artists through the interaction between cultural repertoires and archives revealed that their expressions expanded common conceptions about knowledge and practices in the south of Ceará, specifically Juazeiro do Norte and Crato. We also learned about resistance and the importance of the plurality of narratives in the construction of regional identity. As main results, the artists taught about their boundaries and political disputes through art, demonstrating the liberating and educational power of art (João do Crato), the importance of claiming existence and the message that can be conveyed (Transrústica), and, finally, by sharing knowledge and advocating for basic rights also through art (Mc Amana). Thus also pointing to the claim for the space of the body's experience in communication and culture, reflecting on the potential of corporeality in the production of knowledge and powerful political practices for expanding naturalized limits.

This research aimed to understand the formulation of municipal administration strategies in Salvador concerning the creation of a place brand throughout different cycles of governance in the post-redemocratization phase of the country. The investigation covered the management of five mayors: Mário Kertesz (1986-1988), Lídice da Mata (1993-1996), Antônio Imbassahy (1997-2004), João Henrique (2005-2012), and Antônio Carlos Magalhães Neto (2013-2016). Concepts such as place brand, city brand, city image, and government communication were interconnected to understand the contributions of the City Hall in attributing meaning to the city and promoting the local image. It is a case study using process tracing as a procedure, identifying intracase causal mechanisms for each management period. Methodological procedures included identifying institutional actors in public administration involved in forming a city vision, collecting information on the involvement of consultancies and communication agencies in campaign execution, document research on city projects and programs, and conducting interviews with key informants for each municipal governance cycle. Aiming to understand the city as a meaning-enunciating instance and considering the municipal administration as the protagonist in the local image construction process, an analytical model was developed, interpreting each municipal administration cycle through: 1) the analysis of mayors' speeches at the beginning of their terms (intentions and vision for the city's future); 2) identification and analysis of management projects and programs related to the city brand idea (strategy and operationalization of this city vision); and 3) understanding the involved communication strategies. Documentary analysis of speeches, projects, and programs revealed a set of independent variables that repeated to varying degrees across the mentioned periods. Results indicate the convergence of certain themes as essential for developing a city brand (culture, tourism, and infrastructure) while highlighting the impact of ideological differences between political groups in office, contributing to the difficulty in structuring a long-term city brand, as opposed to a government brand. As a contribution to the field of study, there is a recognized need to understand the city brand phenomenon beyond approaches that solely view it as an action for the tourism promotion of destinations but rather engaging with contemporary emerging dimensions such as environmental, social, and participatory governance.

This thesis aims to understand how music festivals, focusing on the selected events Rock in Rio and Glastonbury, establish modes of music consumption in contemporary culture. The study is prompted by the recognition that music festivals have become a successful model of contemporary entertainment due to the changing dynamics of the recording industry and the ways in which subjects relate to symbolic goods in the current experience economy. The selection of these two festivals is based on their symbolic and material constructions, which make them references in the field, reflected in the plural ambiance they offer, capable of engaging a collective driven by the promise of unique experiences. Therefore, it is imperative to delve into the narratives that organize the experience and are a fundamental element for highlighting empiricism in this research. This investigation focuses on different subjects: initially, the festivals themselves, whose master narratives are potential indicators of the transformations that lead them to occupy a position of prominence currently, and the participating subjects. From the latter's narratives, the research can deduce the material dimension of their historical experience. The methodological procedure that allows for exploring the empirical field is participant observation. Through this approach, it is possible to address conceptual pillars understood as fundamental to this development: music, socialities, the event space, and the festivals themselves. It is from the interconnection of these concepts that the thesis provides insights into the complexity of these events. Among the primary conclusions of this research, community bonds stand out: it is in the various ways these festivities summon, articulate, and engage subjects in the many socialities that permeate their event spaces that they establish a mode of music consumption in the contemporary context. Elucidating these socialities in a diverse event space, conceived to stimulate specific uses and practices, in which it is still possible to identify gaps that give meaning to an experience in that space-time, reveals one of the main findings of the work: the potential for building mini scenes at these festivals, which could justify their continued relevance and survival in the contemporary scenario.

The aim of the dissertation is to understand how digital inequalities – understood as the different ways that people use the internet – influence online political participation. The study analyzes the sociodemographic profile of users of the e-Cidadania portal, from the Federal Senate, and infers an index of their digital skills. Data were collected through a questionnaire sent by email to all proponents of any bill idea through the portal. The application of the questionnaire was possible due to cooperation between the Federal Senate and the National Institute of Digital Technology and Democracy (INCT.DD). From the responses of 8878 proponents, the survey found a profile of respondents made up of men (81%), white (57%), with higher education (72%) and most with family income corresponding to the middle and upper social classes. A sociodemographic profile that is not very diverse, which does not reflect the Brazilian population. The digital skills of these users, considered a fundamental resource for contemporary society, are high in communication and entertainment activities (-0.136), but very incipient in the information (-0.068), strategic (-0.077) and digital activism areas ( 0.219), according to the index, the lower the benchmark, the greater the skill. From factor analysis, it was possible to conclude that personal and positional categories, such as income, education and employment, influence the resources available for access and will influence the results of using digital democracy tools such as e-Cidadania. The results of this work are intended to be useful to the field we call Digital Democracy, while providing subsidies both for academic research and for the design of public policies aimed at political and social inclusion through digital initiatives. Especially, in a historic moment of great effort to digitize the functioning of the State and the relationship between society and the different institutions. Therefore, it is essential to properly investigate the possible losses for those who do not have the necessary resources. The innovation of democracy, despite being beneficial for its maturation, cannot come at the cost of lowering the status of citizen for some parts of the population, especially those who are already the preferred target of other types of exclusion. 

The research analyzes the content about vaccines and about the recommendation for early treatment found in YouTube videos and measures the reach of this information within the platform. As a theoretical basis, references were used about fake news, conspiracy theories, and how cognitive biases operate. and how cognitive biases operate for the assimilation of this type of content. content. To understand the digital environment and how the architecture of the dissemination of false information, we used the concepts of the echo chamber effect and the concepts of echo chamber effect and bubble filters. Structuring the dissertation are the network analysis and the content analysis, so that the content analysis so that the contents could be categorized and content could be categorized and studied in depth, especially when false information about early treatment and vaccines was identified. The data scraping was performed by means of an automated process, as well as the visualization of engagement and performance within YouTube. 

This dissertation proposes an investigation on how audio works in the soundtrack of two films scripted and directed by the Bahian filmmaker Glauber Rocha. In the research, the films Deus e o Diabo na Terra do Sol (1964) and Antônio das Mortes - O Dragão da Maldade contra o Santo Guerreiro (1969) were compared to the manifestos Eztetyka da Fome (Rocha, 1965) and Eztetyka do Sonho (Rocha, 1971), aiming to understand how the sound aspects (voices, sound effects and noises) of the films dialogue with the material written by the director. The first part of the dissertation aims to situate the reader about the manifestations of the aesthetics of hunger and dream in the context of the Nuevo Cine Latino-Americano. It sought to understand the movement in which Rocha was inserted and the influence that this ecosystem had on his cinematography (especially the films under analysis). To this end, the manifesto was discussed as a contribution to the filmic works. Besides the Glauberian texts, some of the main manifestos of the Nuevo Cine Latinoamericano were also exposed in order to present key ideas, common points, and diverse issues that contributed to the maturation of the movement. In the second chapter, before entering the sound analysis of the films object of the research, it was necessary to briefly comment on the sound production mode of Brazilian films during the period related to Cinema Novo, using as theoretical reference Borges (2008), Costa (2006) and Guerrini (2009). To analyze the sound of the films we chose to use some of the concepts (voices, foley and sound effects) established by Débora Opolski (2013). To observe the music of the films, we chose to do a literature review of texts that address the music in Glauber Rocha's films from the 1960s: Guerrini Jr. (2009), Maia and Azevêdo Jr. (2016), Alvim (2014) and Carvalho (2011). Aspects of mixing were also addressed based on Bordwell and Thompson (2013). The third and last chapter sought to understand how the sound aspects and their productions operated in the dialectics of the films and how/if there is any correlation with the two manifestos written by the filmmaker.

This study aims to map the practices of brand journalism in the Brazilian context among the country's major news outlets, with a focus on Studios, and an emphasis on delineating organizational models. The methodology employed involved a qualitative-descriptive approach, including the analysis of 40 media outlets audited in 2022 by the Instituto Verificador de Comunicação (IVC - Communication Verification Institute). Additionally, exploratory research was conducted along with the application of surveys to the investigated companies, and six in-depth interviews were carried out with professionals from the industry. The work is organized into four chapters: the first is the Introduction, which presents how branded content practices have impacted the communication industry. The second chapter explores the emerging concept of brand journalism, addressing its characteristics, objectives, and impacts. It examines how brands use journalistic techniques to create news-like content, as well as the ethical challenges and boundaries between editorial and commercial content. The third chapter focuses on the interactions between journalism, mediatization, and emerging practices in the digital context. It also examines the breakdown of the traditional "wall" between journalistic writing and commercial activities. This section also covers the rise of brand Studios and their influence on journalistic practices. The fourth chapter provides an overview of brand journalism in Brazil, using data from the analyzed corpus, and discusses the found organizational models. The results indicate that a significant portion of media outlets produce tailored content for brands, including the adoption of Labs, Studios, and specialized Hubs as strategies to meet the demands of brands and media companies. The use of dedicated teams and spaces not only increases revenue but also introduces a contemporary approach to the creation and dissemination of advertising content. Three predominant models identified in the study are discussed: the Independent Model – adopted by companies that maintain exclusive teams for brand content production, often within media conglomerates; the Hybrid Model – characterized by greater integration between editorial and commercial teams, with the commercial sector working on client acquisition and editorial journalists creating content for brands, focusing on interdepartmental collaboration; and the Complementary Model – in which newspapers primarily use content provided by contracting companies or agencies, with editorial review before publication. In summary, the identified organizational models – Independent, Hybrid, and Complementary – while distinct, converge in their pursuit of financial sustainability and promote synergistic collaboration between editorial and commercial teams, outlining the complexity of the intersection between journalism and marketing practices in the current communication landscape.

The purpose of my work is to analyze the images and visual traces left on the paths by the bands BaianaSystem and Escola Pública to stabilize their respective iconographies. This proposal will articulate the conceptual proposals about images, fables and performances in the works of Aby Warbug and André Brasil. Here we are interested in the performative character of images that, from their representational and performative dimension, highlight a form of life. Thus, it is from the juxtaposition between logical civilization and magical causality that we will think about the relationship between musical experience and alternative scenes in the historic city of Recôncavo in Bahia, Cachoeira and in the capital of Bahia, Salvador between the years 2009 and 2011, a moment in which The bands are performing at academic conferences, university birthdays, as well as musical festivals in institutionalized spaces such as museums and concert halls. Investigating their aesthetic and territorial narratives, taking into account their particularities, negotiations and possible tensions existing with the urban imaginary in their cities with the fragments of the imaginary space that communicates with the universe of deities, cultural matrices and possible multiple territorialities of connections.

This dissertation analyzes the data intelligence developed by CittaMobi, Municipality Vai de Taxi, Ouvindo Nosso Bairro, Noa Cidadão, Fala Salvador and Salvador Simplifica, applications of the Municipality of Salvador (PMS), in the “Salvador 360” project. The objective of the research is to analyze the applications of the Salvador 360 project to understand how the concept of data intelligence is applied in practice through mobile devices. We understand data intelligence as a way to analyze large volumes of data with the aim of optimizing services and processes and supporting decision-making in public and private organizations. The chosen initiative seeks to modernize management and public services to transform Salvador into a Smart City. From a neomaterialist perspective, we performed: a) interface analysis; b) content analysis of official documents and public communications; and, c) user reaction analysis on the Google Play Store platform with the help of the Appbot tool. It is concluded that the data intelligence mobilized in Salvador 360 applications is the result of actions in a wide network that connects data, processes, institutions, agents and equipment. We observed that the success of applications depends on the collaboration of users in providing information and the involvement of other institutions and servers to operate as an intelligent application. We identified issues in the way solutions inform users about the actions taken and their implications. Good practices are proposed that must be followed in the development of applications for cities. In this context, we assert that for the success of applications in Smart Cities, it is crucial to understand the needs of citizens, involve them in the development, ensure accessibility and security, and monitor system performance and documentation. Partnerships and intelligent management transform data into actions, building transparent and sustainable cities.

This thesis has as its object of study the contemporary problems of privacy resulting from the emergence of the platform society – especially from the phenomena of platformization, datafication and algorithmic performativity. We take as a case for analysis, specifically, the adoption and use of smart speakers. We seek, therefore, to understand how these devices affect the establishment of the private life of their users from their addition in the domestic space. To do so, we developed an investigation from a neomaterialist perspective, interested in the multiple human and non-human mediations that, together, birth the phenomenon of privacy. In the first moment of this thesis, corresponding to the first chapters, we present our empirical object and build our theoretical-conceptual bases. We begin by presenting smart speakers and how they work, as well as the strategies through which digital platforms seek to frame the idea of privacy, especially for these products. From this, we propose the idea of subject-data as an interpretative key to think about the privacy problems involved in the use of these artifacts. In a second moment, from the presentation of neomaterialism, we develop a genealogy of the relations between communication technologies and privacy, culminating in the proposal of ideal-types to think about the multiple controversies involving the media and private life. We also focus on the characterization of the platform society, as well as on the datafication regimes of surveillance capitalism and data colonialism. We seek to demonstrate how the design of digital technologies acts as an important instrument in the perpetuation of business models based on data extraction. With these bases built, we entered the field research developed for this thesis. 21 in-depth interviews were conducted and an online questionnaire was applied to users, totaling 271 responses. Based on this data collection and the previously discussed theoretical-methodological bases, we present a timeline of smart speaker adoption and the consequences of this adoption on the constitution of users' private lives. In general, we found that users tend to naturalize the presence of the smart speaker and, to some extent, adhere to the platforms' datafication regimes. As a cause, we identified that platforms seek to put into practice protective measures and design strategies that are not able to prevent the advance of surveillance capitalism, on the contrary. From this, we propose the concept of designed privacy as a way to shed light on how the notion of privacy becomes a bargaining chip instrumented from abusive design practices.

The objective is to understand fake news in the current context of platformization, datification, and algorithmic performativity (PDAP - LEMOS, 2020b, 2020c), investigating their types, forms of circulation, who is involved in their production, circulation, and consumption, their relationship with journalism, and with the journalistic production of truth. The research seeks to investigate two hypotheses: a) fake news are a result of PDAP and are directly related to platforms and their interfaces; and b) fact-checking and fake news are distinguished by the way they are based on references they invoke. To test these hypotheses, three cases were considered: the "kit gay," the "Vaza Jato," and COVID-19. Based on Actor-Network Theory and the Modes of Existence of Moderns (LATOUR, 2019), this investigation considered false content about the cases, journalistic fact-checking, tweets, interviews, field diaries, and instant messaging app interfaces as sources. It involved techniques such as content analysis, social network analysis, interface analysis (walkthrough method), as well as the researcher's participation in public political groups on Telegram and WhatsApp. The results indicate the relationship between fake news and platforms, demonstrating how interfaces produce specific types of misinformation; determine strategies for amplifying the circulation of false content; call on specific audiences that consume fake news; and show that crowdfunding and monetization tools are related to the production and circulation of false content. The results also indicate that fact-checks and fake news rely on different references to support their claims, with fact-checks being better grounded. The study highlights the interventions of the Meta’s Third-Party Fact-Checking Program (3PFC) in newsworthiness, production routines, and fact-checking itself. Among the most common strategies used by fake news producers, the research identified the anonymization of sources, the erroneous attribution of authorship, astroturfing, the call to action, conspiracy theories, document manipulation, source errors, false connections, fraud, and the use of recipes, advice, and empiricism. The study also proposed a classification of the types of false content that circulate on WhatsApp. Based on this data, it is possible to conclude that platforms and their interfaces are directly involved in the production, circulation, and refutation of fake news.

The development of communication technologies in recent decades, highlighting the popularization of the commercial and mobile internet, associate with various social practices that emerged in this new context – a phenomenon that we can consider as a 'access revolution' (FAUSTO NETO, 2018)⁠, they reconfigured the relations between the instances of production and recognition of the media system, as well as dynamized the discursive circulation between these two poles. In the specific case of the journalistic field, essentially responsible for the production of informative content and for part of the formation of the media public sphere, we can point out several changes inside and outside the work environment of newsrooms. Therefore, the practice of fact-checking emerges as a forceful response to such concerns. It is worth remembering that the professional skills of data verification and verification have always been essential in news work, but they are reconfigured in contemporary times. Indeed, several verification vehicles have emerged in the media landscape. In Brazil it was no different, so we looked at two of these: Agência Lupa and Aos Fatos. In this sense, this work seeks to analyze the discursive strategies used by two digital vehicles specialized in fact checking, Agência Lupa and Aos Fatos, during the first year of the COVID-19 pandemic, in order to understand the incidence of mediatization processes in this context. way of doing journalism.

This dissertation aims to make an exploratory analysis about the participation of children and teenagers in professional journalistic contexts through the case study of Joca — a brand linked to the Magia de Ler publishing house that produces multiplatform products for this age group. We understand reader participation as any action by the audience that helps in the production of content for an institutionalized media. To map the functioning of this process, we carried out a documentary analysis of five periodical Joca products published between February 2020 and January 2021; we conducted interviews with the vehicle's founder and journalism team; we conducted interviews and applied questionnaires with the other actors involved in the participation process, namely: children and adolescents, their parents/guardians and educators who use the material in the classroom. Our findings shed light on reader participation from a cross-platform perspective, showing that reader participation is structural in Joca, being institutionally encouraged and practiced at all stages of content production, incorporating old and new forms of participation. Through the detailed description of how this process occurs at Joca, we point out continuities in relation to other initiatives of the genre, particularities of children's participation and open avenues of investigation for future studies.

  This master’s dissertation works to understand how drag and youtuber Rita Von Hunty allows us to see new forms of drag practices, focusing on the elements that configure her performance in the production of what we call drag intellectuality. Videos on her YouTube channel, titled Tempero Drag, are taken as audiovisual vectors that help to engender a web of materials that cover audiovisuals on other channels on YouTube and TikTok, in addition to publications on Instagram and Twitter. In this analytical effort, notions of networked audiovisual (GUTMANN, 2021) and of a techno-communicative environment (MARTÍN-BARBERO, 2009) are appropriate. The first concept concerns the spreading of the audiovisual in different platforms, constituting a complex and diffuse web (or a network); the second one tells of the complexities that cross our relationships (being them communicational, social, cultural, political) articulated by plots of texts, images and sounds. Performance (TAYLOR, 2013) is taken as a methodological and epistemic key, which, as incorporation, archive, repertoire and scenarios, associated with the notion of mise-en-scène, provide an analytical way to observe the continuities and discontinuities of elements that inscribe drag dimensions and intellectuality in Rita Von Hunty's body. The notion of organic intellectual (GRAMSCI, 1982) is appropriate for the discussion around the construction of another possible intellectuality configured around the possibilities opened up by drag practices produced by and through the audiovisuals that cross and constitute Rita Von Hunty's performance. 

In this research we propose to examine the discursive strategies used in three advertising campaigns of the Government of the State of Bahia, namely: "For the first time in Bahia, the confrontation of racial and gender inequalities is a priority", in 2007, in the context of the foundation of the Secretariat for the Promotion of Racial Equality of the State of Bahia; the campaign “Statute of Racial Equality. Know and guarantee your rights”, in 2014, on the occasion of the enactment of Law nº 13.182/14, which established the Statute for Racial Equality and for Combating Religious Intolerance, both under the government of Jaques Wagner (PT); and the campaign “All voices against racism. All laws against racists”, from 2019, in the government of Rui Costa (PT). For this, data relevant to racial issues in Brazil in its political-social context in the contemporary period to the analyzed campaigns were retrieved. In this perspective, the analysis model proposed in this study was guided by Discourse Analysis and used two main methodological approaches: the first consisted of analyzing the advertising image and its signs, using the concepts of Barthes (1964); the second sought to investigate the marks of the discursive positioning used by the enunciator to establish links with the coenunciator and to analyze how the enunciation participates in the constitution of this discourse, as proposed by Ferreira (2006). The results of this analysis confirm the importance of Communication, in general, and of advertising, in particular, for the production of meanings in debates on policies to combat racism and promote racial equality and how social and political dynamics interfere in the constitution of institutional discourses on the issue. 

For three decades, the field of political communication has been striving to understand how digital tools are used in electoral campaigns. In the course of this time, various platforms have been used by political actors to get closer to the electorate. The present work, then, turns to understand the electoral strategies adopted by candidates on Instagram, and examine how the construction of the public image of political actors takes place in this digital media. The research is made from the study of the profiles of the two main contenders for the Mayor of Salvador in 2020: Bruno Reis, then candidate for the Democrats, and Major Denice Santiago, candidate for the Workers' Party. In conclusive terms, our data indicate that Instagram has been little used by candidates for in-depth discussions with voters. The priority is to inform about the progress of the campaign to the detriment of debates regarding proposals and mobilization. The results also show that, although it was the first digital platform focused on images to gain popularity, Instagram today is not only an online environment to publish photos. Videos had a significant number in our sample. Finally, the study shows that candidates choose to represent themselves in professional contexts and show little of their moments of intimacy and privacy. The intention is to self-portray themselves as political leaders but combining this with attributes that give a humanized view.

This research seeks to identify the reasons for the increase in the use of "live" on the news programs. For the construction of the corpus three TV news programs were chosen: Bahia Half Day, general balance, and Let the People Come which are shown respectively on TV Bahia, TV Record, and TV Aratu, and are the main audiences in the time slot between 11am and 3pm. Eighteen editions were analyzed, six editions from each news program. These editions were divided into two groups: a first group formed by editions from the years 2010 to 2012, and a
second group formed by editions from the year 2020. The analysis of these editions showed that in eight years there was an increase of 22% in the average time spent by the live coverage in the analyzed news programs, more than half of the time previously spent. The live content was also analyzed based on 4 categories: proximity, instantaneity, technology and competition. The analysis of this content reinforces the thesis that the telecasts use the "live" as a tool to get closer to the viewer.

This thesis set out to investigate three native brands of Brazilian hip-hop culture, among them the Phantom Laboratory, Chronic and Kace, using Paul du Gay's concept of culture circuit (1997) and decolonial epistemologies, the research sought to understand how urban fashion brands created by artists and lovers of hip-hop culture behave both in terms of their representations, construction of identity, production, regulation and consumption. Likewise, we seek to identify the aesthetic and political experiences raised by these brands in front of fans/consumers. For this, we carried out a mapping of articles published in newspapers, magazines, interviews, institutional videos, video clips of artists linked to the studied brands, their websites and profiles on Instagram and Facebook. On these platforms, we observe the interactions, comments and engagement of the followers. The expressive materialities of these brands were also analyzed through the collections, prints and models of the clothes. All this material contributed to demonstrate the possibilities and potential in a practice of production and consumption supported by anti-racist and decolonial values. The performances of these brands demonstrate how the strategies adopted are regulated by political, social, cultural and economic issues. In addition to investing in campaigns and social projects, the three companies question and criticize at all times the way in which the colonial world-system works and demand the construction of a society based on solidarity, respect for ancestry and bodies not regulated by European rationalities. 

This thesis investigates the emergence of discursive objects about sexuality and gender as well as the power-knowledge relations present in these discursive constructions in the dispersion of statements in videos produced by people who socially identify as LGBTQIA+ on YouTube. The corpus of analysis consists of a set of 30 videos published on 10 channels of the platform,  selected after exploratory research. The investigation was driven by the hypothesis that these videos: 1) they conform to an enunciative modality entangled by the pedagogical power-knowledge relationship between youtuber and audience, and by the active participation of the platform through its audiovisual production resources, interaction and algorithmic modulation; 2) they mobilize a set of discursive objects constructed from a power-knowledge relationship between self-reports based on the experiences of these people in tension with hegemonic discourses on sexuality and gender. YouTube is chosen as an object of study because it is one of the most popular and relevant digital platforms today. We seek, then, to demonstrate the social, political and epistemological importance of the knowledge about sexuality and gender that circulates from these statements, as well as the power-knowledge relations that materialize in them. Our theoretical framework is based on three references: the notion of dominated knowledge, present in Michel Foucault's genealogy; the idea of situated knowledge, defended in Donna Haraway's feminist epistemology; and the concept of ecology of knowledge, present in the decolonial perspective of Boaventura Sousa Santos. Furthermore, we seek, through a bibliographic review, to present and describe the enunciative field materialized on the YouTube platform, addressing its cultural dimension and locating it in the contemporary technopolitical context. Methodologically, we developed analysis operators based on Michel Foucault's concepts: statement, enunciative modality, discursive object, power-knowledge. As a result, we present the Self-Report of LGBTQIA+ people as an enunciative modality marked by pedagogical, counseling and confidence power-knowledge relations between youtuber and audience, and we also identify a set of discursive objects that emerge in the analysis of the studied statements, distributed in three categories inspired by Patricia Hill Collins' proposal: Self-definition and self-valuation (Intersexuality; Lesbianity; Non-binarity; Transgender); the interlocking nature of oppression (Acceptance; Affections and beauty standards; Heteronormativity; HIV and Doctor-Patient Relationship; LGBTQIA+phobia; Relationship with the body); Importance of LGBTQIA+ people’s culture (activism; LGBTQIA+ community; Pride; Representativeness; Transition).

This thesis aims to analyze the brazilian cultural phenomenon in which dissidents of sex and gender norms (RIVAS, 2011; COLLING, 2019) have been spatialized in what I called transviadas musical scenes. As a theoretical-analytical gesture to understand its conditions of possibility, transviadas scenes tension conventions around genders, sexualities, race, ethnicity, class, territory, and articulate body torsion and frictions with reinventions that cross contemporary audiovisual and ours experiences, when we inhabit urban spaces and digital environments in a connected way. Focused on the incorporation of femininities, their transits and obliterations, I assume transviada like a translate of queer in Brazil, in the terms of Bento (2016; 2017), how people act in the world against systemic violence attributed to what the author calls the abject feminine. Through this perspective, I start from the assumption that the contemporary audiovisual, which strongly marks this scene, is woven by the intersection of communicational expressions, subjects and platforms in various dynamics of production, circulation and consumption that occur in flows (GUTMANN, 2021). From a theoretical
framework that articulates feminist studies, queer studies, cultural and communication studies, in addition to some philosophical and decolonial perspectives, I propose the image of a rhizome, a plot of heterogeneous knots (DELEUZE; GUATTARI, 2010; 2011), to analyze how resistance to gender hierarchies and norms, seen as performances of disidentification (MUÑOZ, 1999), reveal the formation of communities in which participants create new meanings for their identities and resignify social and community values. Such movement occurs from four plateaus/vectors: the first, the matrix shot for the transvestite singer Linn da Quebrada; and the second plateaus, which open a series of questions about gender and sexuality in the Brazilian context, are analyzed from three music videos by the artist: Enviadescer, Bixa Preta and Blasfêmea/Mulher. In a rhizomatic way, the empirical analysis connects Linn da Quebrada and her works to other subjects that, in network, exhibit the formation of scenes as spaces and relational communities. In this sense, artists and fans ritualize practices and socialize tastes, styles, identities in complex dynamics of production and consumption, giving new meaning to
collectivities and citizenship. Finally, it observes the ways in which we invest our desires, pleasures and belongings through music and audiovisual, and assumes that affective investments and identity empowerment (GROSSBERG, 1997; 2010; 2018, GOMES; ANTUNES, 2019), mapped around the networked audiovisuals, respond to given conditions of historical possibility.

This doctoral dissertation focus on the user experience with 360º audiovisual journalism content, as well as some developments, considering the sense of presence as the central element. The specific objectives encompass three important elements for journalism – understanding, credibility and ethics – investigated from the users' sensations and perceptions. This research comes at a time when the experience has been gaining prominence in the journalistic universe, based on the use of emerging technology resources. One of them is virtual reality (VR), which we understand as a media that aims to provide experiences mediated by sensory stimulation devices that favor immersion and interaction, seeking to promote a sense of presence in virtual environments from which the user has a vision in 360°. Betting on the potential of VR, with the predominant use of 360° videos, but not only, journalistic organizations around the world invested in productions, mainly between 2014 and 2018, when productions began to slow down. However, multinationals in the technological market continue to invest in developing and popularizing VR, including the construction of virtual universes called metaverses. In this context, little knowledge has been built about journalistic narratives for virtual reality, investigating aspects of greater interest to journalism itself from the sensations and perceptions of users. Therefore, the thesis we defend is that the user experience with 360º audiovisual journalism content has as its central element the sense of presence, responsible for influencing, for example, understanding, credibility and ethics, among other important aspects for the journalism. From the perspective of a descriptive research, we methodologically built a reception study involving bibliographic and documentary research, mapping, experimental research with users (N=80), data collection through interviews and questionnaires, product analysis, statistical analysis and qualitative analysis of interviews. Among the main results, we highlight that this study pointed out that: a) the user experience begins with the individual's intention to experience it, an important step for immersion, which involves attention, focus and concentration; b) the sense of presence develops after immersion, evidenced mainly by three aspects: feeling of “being there”, realism and proximity. It is through them that the sense of presence plays a central role in the experience; c) the sense of presence also has a strong relationship with the user's cognitive overload, a factor that also acts in various directions of influence within the experience; d) understanding, credibility and perceived ethical aspects, as developments of the experience, are influenced by the sense of presence; e) during the experience, most users tend to explore the images more, paying less attention to the audio, but many feel confused or lost. Finally, this thesis also brings important theoretical-conceptual and methodological contributions. 

The dissertation investigates the GovTech ecosystem in the country, the development models and the forms of financing. The main objective is to map the phenomenon's characteristics, legal, protection and technologies. To this end, a survey of national GovTechs was carried out during the period from 22 november 2019 to 20 april 2020. For a closer analysis, the work focuses on a case study of the Movimento Brasil Sem Corona platform, an initiative of GovTech Colab. The dissertation argues for the importance of public policies to strengthen the GovTech ecosystem, for the importance of a more systematic understanding of the process of developing digital digital democracy initiatives and, in relation to the case study, problematizes the possibilities of using data from Brasil Sem Corona for organizing the response to the Covid-19 pandemic. The collected data form the following sources: a) survey of national GovTechs declared by BrazilLAB; b) official documents obtained by the Brasil Sem Corona initiative; c) analysis of the Brasil Sem Corona platform interface; e d) database with information regarding the options offered to citizens and the results obtained after the participatory process; e e) semi-structured interview with the Colab operations coordinator and developer of Brasil Sem Corona. Then, we focused on the reaction analysis of users from Brasil Sem Corona on the Colab platform on the Google Play Store with the aid of Appbot data analysis tool from 20 March 2020 to 2 November 2020. The results show that GovTechs emerge as a means to keep abreast of public management and solve public problems, acting under the failure of governments, and the solutions put forward can improve the decision-making capacity of local governments and their municipal managers, regardless of size and region of the municipality. The platform logic of Brasil Sem Corona reconfigures the practices and conditions for participation in various ways while opening up new possibilities for political communication. Citizens' participation in the initiative as agents in decisions about public actions during the Covid-19 pandemic contributed to the response effort, especially for health policies developed by public administration.

Since the last decades of the 19th century, newspapers have dedicated, daily or weekly, a space of their pages to comic strips. Different formats have appeared in publications all over the world, the most common of which is the comic strip, present in the largest Brazilian newspapers to date. In the 1990s, however, reporters began to use the language of comics, also known as sequential art (EISNER, 1989), to tell the news reports. The forerunner of the “comic journalism” genre is Maltese reporter Joe Sacco, author of reporting books like Palestine (1993) and Notes on Gaza (2010). More recently, researchers have suggested the possibility of using the language of comics also for data visualization, under the name of data comics: a visual way of storytelling, based on sequential images that consist of visual representations guided by data (BACH et al., 2017; ZHAO, 2019). Just as comic journalism has gained new authors and readers and has been the subject of journalistic experiences since it appeared, data comics have already been produced by newspapers like the British newspaper The Guardian, and the research aims to define and propose characteristics for journalistic data comics. To this end, 32 examples of data comics made available on the Data Comic website were analyzed, coming from the curatorship carried out by researchers from the universities of Edinburgh, Harvard, Calgary and also from Microsoft Research. Based on the methodology for studies of communication, mediation and cyberculture (LEMOS, 2020a) and on the literature on data visualization, comics and data journalism, analysis categories were defined for aspects related to “data” (elements of data visualization) and identification elements) and also to the “comic” (graphic elements and structural elements of the comics). From the definition of the categories, criteria were proposed to identify what is a journalistic data comic, which must contain at least one element of data visualization, an element of the language of the comics and two elements of identification, being the authorship and the data source, so that the information contained therein can be verified and audited.

This dissertation proposes a study about TV Globo telenovela screenwriters, in the contemporary context of digital ambience. We start from the premise that the changes caused by media convergence influenced the way the authors of this type of television serial fiction conduct their work. The main objective was to understand such effects in the production of telenovelas by the network, with emphasis on the work of author-screenwriters Gloria Perez and Rosane Svartman. From a methodological point of view, the research is exploratory (bibliographic) associated with the application of semi-structured interview, followed by content analysis of a qualitative scope. Regarding the theoretical foundation, it starts from studies by Bourdieu (1989; 1996; 2002) on the notions of field, habitus, trajectory and position of agents in the social space. The concept of the telenovela field, based on the research by Ramos and Ortiz (1989), updated by Souza (2004a) and Rios (2019), is the guiding aspect of the work, which traces a historical panorama since the formation of the field, in the initial decades of its production, until the end of the 2010s, in the refinement and transmediation phase. Thus, the research focuses on media phenomena that characterize convergence, in the period in which television is, as defined by Santos (2018), based on the periodization of Rogers, Epstein and Reeves (2002), in the era of TV IV. These are characteristic points of that era: the migration of television audiences to streaming platforms, new ways of understanding the “spectator” category and the creation of fictional extensions that provide other experiences in the relationship between audiences and content. Then, the category of telenovela author is scrutinized, to clarify the essential aspects that underlie the screenwriter's work in this specific type of serial fiction. For this, possibilities of grouping professionals into generations are articulated, which show the different phases of this type in Brazil, also considering the competitive context between the different production companies. The emphasis is on the last two decades, given that the most substantial changes in the media scenario in focus are evidenced in telefictional works exhibited between 2000 and 2020. Finally, the trajectory and works of authors Gloria Perez and Rosane Svartman are examples of the observed transformations, which revolve around themes, the construction of characters and plots, transmedia experiments and forms of interaction with the public, in digital social networks. It is expected, therefore, to explain the functioning of the main aspects related to the writing of telenovelas and the management of authorship on TV Globo, as well as to understand the specifics of the screenwriter's work, based on their performance in the hierarchical structure that makes up the creative process and shared production of these stories in an industrial context. By proposing to trace the cartography of an epoch, this work presents, as a result, a grounded analysis of the work of the author of telenovelas in contemporaneity. 

This dissertation is about the audience. Not just as those whom journalism has to inform, but also as participants of a social relationship. In this sense, reciprocity as an essential concept for the establishment and maintenance of social relationships recognizes a series of characteristics that are interesting for the study of business models focused on the public, for this matter, memberships. The main purpose of this research was to determine the strength of reciprocity –with members– as a theoretical concept and as a journalistic practice in the study and building of memberships in digital journalism. Thereby, the idea developed by The Membership Puzzle Project was taken as a starting point in which journalistic memberships are distinguished by the existence of a ‘social contract’ or ‘value offer’  as opposed to other forms of journalism. During the development of this work the aim was to identify journalism’s commitments to the idea of this new social contract, as well as to verify the process by which memberships were adapted into a business model in digital journalism. Then, it proposes a schematization of the key elements of memberships and how they are related in each medium investigated. For that reason, this research used the case study as its main methodology, studying the membership models of La Silla Vacía (Colombia) and Agência Pública (Brazil). It was also necessary to understand the experimental status of this business model in journalism, something that does not allow general criteria that apply to all media, but does establish some cross-cutting points. Other quantitative research tools such as content analysis (speeches, images, websites, social media), observations (at member meetings), and semi-structured interviews were also used. Additionally, the study includes an ethnographic experience as a member of each medium analyzed. This means participating as a "súper amigo" (La Silla Vacía) and an "aliado" (Agência Pública), contributing monetarily and attending the activities proposed by both media. Although the implementation of memberships in smaller media and niche audiences turns out to be more viable given the possibility of establishing common values, some challenges are pointed out in the final part of this text (e.g the distinction from other models focused on the public, the attraction of new members and the constant need for innovation). Finally, reciprocity is seen not only as a possibility but also as a key to think about conversation, contribution, participation and accountability that mediate the relationship between journals and members who are committed to the relevance of journalism in a social environment.

This dissertation investigates the process of evincement on the contemporaneous Brazilian documentary, focusing on productions that concern both issues: silenced memories of those ones who suffered violence and a narrative intermingle between fiction and documentary, on a process that settle itself as a response to the absence of evidences and/or documents from the past that it is wanted to access. We argue from the point of view of rhetoric, adopting as theoretical reference Bill Nichols, intending to comprehend how the documentary maker’s documental discourse is built and the ways used by him to access and introduce to us the character’s past. To analyse this connection between evincement and fictionality, we analysed the documentaries Orestes (2015), by Rodrigo Siqueira, in the light of Roger Odin’s semio-pragmatic model, observing the sense production and the ways of reading created by the film from the construction of evidence. 

This  dissertation  proposes  a  study  about  the  motivations  and  strategies  that  fanfic  writers  who want  to  be  professionally  published  use  to  enter  the  publishing  market  in  Brazil.  To  illustrate this  phenomenon,  it  was  necessary  to  build  a  walk  through  the  social  trajectory  of  three Brazilian  serial  romances  authors,  who  initiated  their  careers  writing  fanfictions  on  the Internet,  them  being:  Carolinha  Munhóz,  Babi  Dewet  and  Ray  Tavares.  The  enthusiasm  that initiated  the  process  of  this  research  was  the  perception  that  fanfictions  today  stopped  being just  a  story  created  by  a  fan  based  in  another  product  from  popular  culture  and  it  became  a literary  subgenre  built  on  the  Internet,  that  is,  a  specific  format  of  producing  and  consuming serial  sentimentalists  narratives,  and  that  authors  are  using  this  space  as  a  mechanism  for practicing  their  writing  to  fulfill  their  wish  of  publishing  their  books  professionally.  In  this context,  it  is  seeked  to  comprehend  how  fandom  contributes  to  the  creation  and  development of  skills  of  fans  producing  literary  fiction  and  how  this  unfolds  into  possible  careers  in  the Brazilian  literary  market  and  in  other  associates,  such  as  serial  fiction  for  television  and  the Internet.  The  objective  of  analyzing  the  trajectories  of  the  selected  writers  through  Pierre Bourdieu's  methodology  was  to  understand  these  trajectories,  emphasizing  the  relationship between  their  motivations  and  their  difficulties  and  achievements.  We  sought  to  map  the habitus  acquired  by  these  writers  along  the  positions  they  occupied  in  order  to  relate  them  to the  choices  they  made  to  acquire  recognition  and  consecration  that  would  collaborate  with their  insertion  in  the  literary  field.  The  effort  to  conceptualize  fans  and  derived  productions from fandoms  was  theoretically  reasoned with the  contributions of Jenkins  (1992; 2009), Hills (2005),  Sandvoss  (2005)  and  Lessa  (2017),  and  for  understandment  about  the  fanfiction phenomenon  Vargas  (2005),  Jamison  (2017)  and  researches  from  the  A-Tevê  group (Laboratory  of  Telefiction  Analysis)  from  the  Federal  University  of  Bahia  (UFBA),  in  special the publications of Souza  and co-authors (2015; 2017).  Then,  a  study  was  developed  about the Brazilian  literary  market,  the  book  production  chain  and  the  ways  to  publish  professionally  in Brazil,  seeking  to  understand  how  the  market  and  publishers'  view  of  fanfic  creators  can interfere  in  the  trajectory  of  those  who  want  to  become  a  professional.  The  social  trajectory analysis  was  built  with  a  compilation  of  informations  obtained  from  the  authors  interviews  for press  vehicles,  videos  in  their  Youtube  channels  and  other  contents  in  social  media.  The efforts  of  this  research  show  how  the  phenomenon  of  using  the  Internet  as  a  mechanism  to practice  writing  and  create  an  engaged  community  of  readers  has  shaped  itself  as  a  path  for the  publication  of  serial  novels  and  other  products  in  the  literary  market.  It  is  hoped  that  this dissertation  can  contribute  to  research  aimed  at  fans  and  participatory  culture  in  Brazil  and  the growing literary  movement on the  Internet,  made  up especially  by  the  segment of  authors who publish with the intention of entering  the publishing  market. 

This research aims to understand transformations in the sensorium and politics from memes in audiovisual culture. The sensorium is understood as new ways of perceiving, feeling, and relating to time and space (MARTÍN-BARBERO, 2017) and politics is configured from the 3-vertex diagram composed of: everyday life, body and State and in whose vectors their nuances are located (GROSSBERG, 2010). Based on the concepts and assumptions of Cultural Studies, the meme is seen as a cultural form (WILLIAMS, 2016) and the practices around it are taken to make us see mosaic-knowledge, other figures of citizenship, in addition to disputes and agreements about social, political, and cultural issues in Brazil. Meming is highlighted as an empowerment strategy based on culture, which mobilizes affects and strengthens a sense of belonging, communities of meaning and sharing. In addition to the diagram, our referential is also supported by the articulation of three maps by Martín-Barbero: the one of mediations, the one of mutations and the Insomne, and his contributions to the approach to youth, politics and education. The mediation/mutation of technicalities is seen in a three-dimensional way, considering Martín-Barbero's three maps, which negotiate with flows, identities, sensibilities, and narratives. The analysis starts from the identification of four elements or sets that make up the meme in the techno-communicative environment: the zoeira, a particular trademark expression of Brazilian humor; vernacular creativity and new literacies; the grouping composed of propagability, instantaneity and replicability; and the treta, a kind of Brazilian mess. We make a temporal cut where there are two main historical moments and their reverberations that allow us to build a context for the investigation considering the memes created and shared in the period. The first highlights the so-called "education crisis" in the last months of the Temer government up to the 4th head of the MEC in the current administration, going through events such as the Tsunami da Educação, in 2019. The second addresses the Covid-19 pandemic in Brazil and the diversity of thematic crossings that cover the first 18 months of the pandemic in the country. The investigation focuses on the variety of what we call memetic events that are triggered along these two moments. The way in which meming is articulated with the three vectors of the diagram is emphasized in examples that address indigenous, racial, and high school youth activism. Finally, we suggest articulations involving the maps, the diagram and the set of elements that make up the meme, pointing out two issues or places of identification of the transformations of the sensorium and politics: the fight ring where the memes lead disputes and give rise to expressions of other politics and the platform where sensibilities and technicalities unfold in experiences supported by the meme as other ways of living, feeling and narrating the world.

The Noticiero Icaic Latinoamericano, in addition to being a newsreel, was an instrument in the service of creating an internationalist and anti-imperialist subjectivity in post- revolutionary Cuba. Between 1960 and 1990, the newsreel informed Cubans about national and international events; denouncing U.S. imperialist abuses, celebrating the advances of socialism, and publicizing the achievements of peripheral peoples in their wars of liberation were recurrent discourses in the program. Between the 1960s and 1970s, the Vietnam War was a very present theme. The reports were explicitly in favor of the reunification of Vietnam - a flag upheld by the Democratic Republic of Vietnam, North Vietnam, and the National Liberation Front, the Viet Cong - and against the massive U.S. military support for the Republic of Vietnam, South Vietnam, which was fighting the expansion of communism in Southeast Asia. This dissertation considers that the representation of the communist forces in Vietnam, throughout the coverage of Noticiero, is formed in two poetic regimes that are sometimes juxtaposed and sometimes intersect, here called mimetic and monumentalist. Based on this hypothesis, we analyze the strategies of production of sensorial, affective and cognitive effects from the use of music, voices and noises that compose the soundtracks of the news. It is considered that the use of sounds, such as the songs in honor of Ho Chi Minh, the voice of Fidel Castro and the rifle shots, as opposed to the noises of enemy airplanes, when articulated in news reports about Vietnam, serve two purposes respectively in different periods, 1960 and 1970. The first, to make the guerrilla ethos of the Vietnamese mimetically infect the Cuban public, when Cuba was undergoing profound political transformations, a time when the tone of the reports tends more towards a mimetic regime. Second, to establish monuments around the achievements of Vietnamese and Cubans, marked by an anti- imperialist and internationalist spirit, and to point to a future of abundance and sovereignty for the entire Third World, a time when the Cuban revolutionary government was more established and the Vietnam War was coming to an end. For the purposes of the present research, 166 editions of Noticiero featuring Vietnam as the subject of the reports were inventoried. The extracts selected for analysis were divided into three layers corresponding to the different elements of the soundtrack. They are: music, voices and noises.

The aim of this study was to analyse how the style aspects of the Salta trilogy of the Argentine film diretor Lucrecia Martel place it in the context of the contemporary Latin American cinema, going beyond the conventions on the new Argentine cinema.  In order to achieve that, conventions on the new Argentine cinema in relation to the Italian neorealism and the aesthetic turn of realism in the contemporary Latin American cinema in relation to the political Latin American cinema of the 1960s were critically analysed.  Style aspects which allow to consider the Salta trilogy of Lucrecia Martel in the broader context of the Latin American contemporary cinema were discussed. The music project of the trilogy and its contributions to the regional aesthetics of Lucrecia Martel were also analysed. References included theoretical studies on the Latin American contemporary cinema, particularly recent elaborations by  authors from the region and contributions of the decolonial studies. The methodological approach was interdisciplinary, including film analysis and analysis of the relationship between the films and their political and historical context, including also relevant information from other types of sources, such as interviews, conferences, reviews, and journal articles. The corpus included three films directed by Lucrecia Martel: La ciénaga (2001), La niña santa (2004) and La mujer sin cabeza (2008), known as the Salta trilogy.

This dissertation is dedicated to the effort to understand what motivates the selection of objects of reality to be transformed into news. We start from the point that considers journalistic activity to be a cultural product of a society that has marked habits, beliefs and values and that influences our assessment of what happens around us (Schwartz, 2006, 2012). In this sense, we question ourselves about the relationship that is established between the factors of news production. Specifically, here we aim to find out if there are news values that cross editorial characteristics and how the purposes of journalism can help us to understand the existence of these common news values. We analyzed news highlighted on the websites of Folha de S.Paulo, Vogue Brasil and Nexo, during the working days of April 2019, in the range of 8:00 pm to 9:00 pm. In order to operationalize the analysis of the news values, we elaborate a systematization based on authors considered relevant for the studies of news (Brighton & Foy, 2007; Galtung & Ruge, 1999; Gans, 2004; Golding & Elliott, 1979; Harcup & O’Neill, 2001; Harcup & O’Neill, 2016; Shoemaker & Reese, 1996; G. Silva, 2005; Traquina, 2005a), being: interest, power, significance, proximity, notability, unexpected, infraction, reference to something negative, conflict and novelty. To articulate with the purposes of journalism, we use as a reference the systematization developed by Reginato (2016), which brings together studies published in the last hundred years. The analysis indicates that the following news-values cross editorial resources: novelty, which articulates with purposes such as ‘helping man to understand and live his time’ and ‘being the memory of society’; significance, which is articulated with 'selecting significant themes' and 'contributing to democracy'; interest, with 'having fun'; notability, which articulates with purposes such as 'showing the diversity of society'; and proximity, which articulates with several purposes, among them ‘contextualizing and organizing information’ and ‘keeping society together and integrated’.

This research investigates the contribution of the cinematographer Vittorio Storaro for the Woody Allen’s work based on analysis of the films Café Society (2017) and Wonder Wheel (2018) both period films cinematographed by Storaro and a corpus composed of 7 films also set in the past and previously directed by Allen. Assuming as observation devices (Aumont and Marie, 2013; Vanoye and Goliot-Lété, 2012) the resources of light, shadow, camera movements and colors, the process of analysis had as theoretical and methodological support the problem-solution paradigm, the studies by Michael Baxandall (2006) about the vestiges of intention and the reflections of David Bordwell (2008; 2013) about the cinematographic style. The analytical journey allowed us to see that Vittorio Storaro's stylistic strategies changed Allen's visual poetics in the denotative, expressive, symbolic, and decorative dimensions of the films.

This research has as its main objective to study the process behind building influence on the Instagram digital platform, by analyzing the Digital Influencer performance. Due to performance analysis, it was chosen a specific theme that is vastly explored on the platform: the caring of curly hair. Considering this matter, three profiles from influencers based in Salvador and metropolitan area, who usually discuss this topic were select to give interviews, in order to evaluate their performances in the following categories: (1) Performing Elements; (2) Account Using; and (3) Influence Awareness. Expecting to evaluate the engagement, which considering the relationship of influence is related to changes in the influencer behavior/opinion, an online survey was distributed to the interviewed followers, aiming to evaluate the related influence process; for this, the following categories were used: (1) Effects on Audience; and (2) Involvement with the theme. As a result of the research central questions, we could understand the influence through the social performances is building by the establishment of a central agenda by the performer, who places himself as an authority and reference on the subject; specific profile settings; the habit of analyzing and filtering its content based on the reaction of the audience; and keeping the constant presence in the platform, resulting in a huge selfexposure. The effect of this performance tends to affect the actions or noticeable opinions in the performer's audience.

This work aims to investigate enunciation devices through which O Globo and Folha de S. Paulo (newspapers) websites have created an event around the assassination of Marielle Franco and Anderson Gomes. Furthermore, this research draws upon current studies around mediatization and circulation. Based on Discourse Analysis and Theory of Enunciation, this work examines significant aspects of newspaper articles such as titles, subtitles, images and citations. The method relies on the concepts of triple mimesis and reading contract. Research findings indicate the narrative temporal dimension as the basis for the enunciation devices which constitute news coverage. Promoted by newspapers, the contractual relationship with the audience depends on time sharing. O Globo has made this sharing possible via the meaning effect of co-presence in the space and time of the investigation, while affirming itself as an authorized and legitimate instance to report on the event. This was possible because O Globo has appropriated the mechanism of exclusiveness provided by the conditions of production - especially the territorial proximity to the crime locus - to create processes of self-referentiality and emotional identification. O Globo conditions of production, especially in regard to the territory, covered the element of exclusiveness. On its turn, it allowed the newspaper to consolidate processes of self-referentiality and affective identification with the public. On the other hand, given O Globo’s protagonism, coadjuvant Folha de S. Paulo resorted to transparency and objectivity to build its own image. Throughout the coverage, its narrative path transmitted a meaning effect of detachment especially when reporting on information published first hand by O Globo.

The Master’s dissertation analyzes articulations between transviada performances and the world-pop culture in Brazilian Lady Gaga parodies on YouTube. The research has an approach about pop, performance and parody (named as the 3 Ps of the research) with basis on concepts and assumptions from British and Latin-American Cultural Studies in dialogue with other academic works. The concept of world-pop culture is developed as a global, multifaceted and connected space where diverse cultural exchanges are established from local values of popular culture and global values shared in asymmetric ways. This concept was created from the ideas of popular culture (HALL, 2013; MARTÍN-BARBERO, 1997), worldculture (CANCLINI, 1995) and globalization (CANCLINI, 1995; GROSSBERG, 2010). The concept of performance is understood by the idea of restored behavior (SCHECHNER, 2013) associated with the idea of transcultural (TAYLOR, 2013). The relations with dissident gender and sexuality identities in Brazil are thought through the idea of transviado (BENTO, 2017). The parodies are understood by the concepts of hypertexts and palimpsest (MARTÍNBARBERO, 1999, 2013, 2014, 2015), as a way of thinking about them beyond steady ideas of past and present and authenticity. The methodology to analyze 25 Brazilian parodies of Lady Gaga selected to the corpus is the result of the articulation between the mediations map (MARTÍN-BARBERO, 1997) and the cultural mutations map (MARTÍN-BARBERO, 2009), that guided the analyses together with four axis built to this research: armengue poetics, transviado humor, pop disputes and pop-complaint. We reinforce the understanding of parodies as places to look the cultural crisscross of values and the articulations that showed us frictions and reproductions between Brazilian tranviada performances with the world-pop culture. 

This Master’s dissertation is born from a discomfort with a hegemonic construction that states that technological innovations are responsible for transformations in audiovisual production and consumption. In this way, I intend to analyze the elements and cultural practices of binge-watching and spoiler that compose the web of contemporary audiovisual consumption. So, I assume, as a starting point, an analytical gesture that takes audiovisual flows that are part of my experience consuming series, that allows me to see transformations, reiterations and continuities in these processes.  For that, I propose an articulation between the concepts of Flow by Raymond Williams and Jesús Martín-Barbero. I build, this way, the articulation about  Flow as an experience that happens in an image and sound continuum going through and connecting times and spaces from the cultural practices in this research. In my
analytical journey, I also relied on the articulation of two Martín-Barbero maps: the mediation and mutations maps, that allowed me to see the transformations, reiterations and continuities in the circulation of the serialized productions, as well, the way these cultural practices are shared in the technocommunicative environment. I emphasize, in my analytical exercise, the dense contextual and historical formations of the audiovisual cultural practices, through their social and sharing aspects, in a relation with uses and appropriations of technological artifacts.

This thesis aims to analyze the processes of changes and innovations in network journalism focusing on the concept of immersion. It starts from a diagnosis that the concept of immersive journalism has a strong technological perspective in academic research and the world of work that sublimates several dimensions of the relationship between journalism and immersion. It argues that immersion is a structuring category and induces innovations in network journalism. The research is guided by the dimensions of production and narrative and attentional strategies. The qualitative approach methodology consists of the combination of the historical method with the theoretical-conceptual model of case studies, using document analysis, semi-structured interviews and product narrative analysis. The empirical corpus is formed by seven journalistic pieces, of different formats such as multimedia content, newsgame and virtual reality published in local media (Correio*), national media (Estadão, UOL and Vice Brasil) and international media (El País (Spain), The Guardian (United Kingdom) and Univision Noticias (USA), chosen because they have been awarded of referenced in academic works. Theoreticalconceptual treatment includes Journalism Studies, Narratology aspects, as well as the concept of immersion, attention and innovation approaches. The main findings of the research are: a) the evidence that the journalistic activity that explores the category of immersion extensively is based on an epistemology of experience in professional practice and the adoption of strategies synthesized in the proposal of the dense narratives; b) the emergence of impact as a complementary alternative to the task of editorial measurement; and c) immersion in journalism has the potential to drive social innovation as a technique and as an established between users and products.

The thesis investigates the circulation of fake news in the 2018 Brazilian presidential election among platforms and in a multimodal perspective. The main objective was to determine the political nature and the main characteristics of the phenomenon. For this, it was necessary to establish an operational concept suitable to be used in the analysis of the object of study. Theoretically, the thesis sewed the relationships that are established among information shortcuts, information flows and political discussion in the public sphere. Although the political use of lies and the social transmission of rumors coexist as practices of political and interpersonal communication throughout history, the phenomenon of fake news proves more difficult to control in the face of an information landscape populated by channels of right-wing conservatism and to a business model in which social media prioritizes the connection between users over companies, without measuring the quality of information. The free circulation of ideas started to be exercised without editorial balance and anti-democratic political messages gain public visibility online if they are popular. The methodology was built from mixed and digital methods. In the first stage, an exploratory analysis of the political nature of 347 fake news stories about the elections was carried out. Then, a sample was delimited for in-depth analysis composed of 57 of these fake news, which were mainly propagated by 1,073 broadcasters and reached almost 4 million shares in the last months of the elections, which were analyzed from four dimensions: hostile discursive climate, the means and modes of propagation, the mimicry of the journalistic format and political content.. The results show the importance of paying attention to a) the prevalence of interpersonal conversation when shaping the communicative flow; b) the participation of accounts managed by human beings among the main and most relevant propagators; c) the fact that fake news travel organically among platforms, mainly Facebook and WhatsApp; e) the perception that one or a few accounts attract enough sharing around them to make a story popular; f) the participation of opinion leaders as strategic agents to frame facts and public events in a distorted and untrue way; and g) that the presence of a certain candidate as a key character in fake news does not mean that these stories potentially generated losses for his campaign - on the contrary, they may have felt mostly positive. In the case of the 2018 Brazilian experience, content analysis showed that Jair Bolsonaro was the biggest beneficiary, directly or indirectly, from the distribution of fake news, while Lula/Haddad was the main loser. At the same time, ‘bolsonarism’, although almost equitable, was a feeling that showed greater frequency than ‘antipetism’, which was in the sequence. Among other findings, it is noteworthy that most fake news was classified as ‘Pro-Bolsonaro’. The results are systematized at the end of each analysis step and summarized in the conclusions.

This doctoral thesis calls into question the digital self-portraits, commonly referred to as “selfies”, as practices that reveal different modes of everyday experimentation. The main objective, therefore, is to follow the experience related to the production of digital photographs called selfies. The direction for the research is not in the investigation of the imagery character of the selfie, or in the exploration of sociotechnical networks associated with the photographic device, but in its constitution as a practice – situated and constantly changing through experience. In dialogue with William James' radical empiricism, the problem arises in terms of its practical consequences: What constitutes, in practical terms, taking a selfie? What are the localized differences produced when we think about the selfie not as a type of image, but as a practice? In other words: through what processes does the practice of selfie build itself in a photographic routine? It is these questions, together with a proposal to follow the experience, that guide the construction of an investigation carried out as an ethnography before the practice of selfie. In this way, a mode to follow the experience that develops in the tracking of practical differences is developed here, in a procedural character of propagation and connection through new experiences, and in the constitution of a trajectory to be followed. The starting point for the investigation is located in a square, where we start to observe and interact – considering geographic and digital spaces as a continuous observation environment – with different selfie practices. From these first observations, the possibilities of new paths begin to be outlined, and the photographic daily life of different people which begins to gradually become ethnographic characters. This trajectory, of following the experience together with the characters, demonstrates a selfie practice that is built on the daily differentiations and modes of experimentation that pass through the ways in which they develop: negotiations between shame and visibility; co-construction of practices through algorithmic performance; conversational possibilities in material-discursive practices; and modulations of intimacy in affective experiences. It is also demonstrated that these modes are traversed by a learning trajectory of account of oneself, through which the selfie is constituted as a practice. It is in this sense, together with the particularities of the everyday selfie practice presented in each chapter, that an investigative preposition based on experience is proposed (and experienced) – and, through it, it is argued and called attention to the need to learn to articulate possible ways to follow it taking into account the productions of practical difference.

Like others communication contents, the digital presence in society’s daily life impacts film criticism and brought to the critics the urge to realign the practice. A request for audiovisual formats and the media companies or the specialization of those kind of contente from independente critics is one of the traits of contemporary film criticism. The audiovisual culture provided by technique and matures by the facilities of the filmimg processes, editing, distribution and exhibition of audiovisual pieces on vídeo platforms and social media integrating vídeo film criticism on the routines and reception of contentes. At the beginning, we could say that those practices absorb classic aspects of the text written in journals, magazines or websites, but also that it pose other demands for movie critics. Thus, we defend this niche of production as a content that have specificities that redefine the text in it relationship with other critics, its possibilities of circulation and reception, with the peers, cinema and the spectators. In this sense the production of audiovisual film criticism on the internet is determined by demands of language, platform and sociability that we consider from a multidisciplinar theoretical framework that includes reception studies, performance, film analysis, sociology and ciberculture. The brazilian production for YouTube is assumed as case study through the analysis of Isabela Boscov, Entre Planos and Arthur Tuoto. Those analysis allows us to understand why, on the one hand, there are characteristics that even subtly transforms or separe-te those vídeos from traditional criticismo, on the other hand, that rechape the critical experience (production and reception) isn’t complete because everything depends on the uses of the actors that can be diverse because of the flexibility and democratic nature of the digital.

Among images, stories and memories, there are many ways to narrate African cinemas and “narrate” their narratives. Taking as a starting point the complex and multiple scenario of films made by African filmmakers, our thesis looks at the narratives from these films approaching how the use of allegorical constructions, as a legacy of oral narratives in cinema, would be configured as a rhetorical strategy in context of cinematographic narrative. Going beyond the concept of allegory as a figure of speech, our proposal is understand how its composition within the narrative can mobilize new arrangements of meaning trough chain of events and how it functions as a rhetorical resource, by promoting the articulation between different temporalities and historicities from narrative. As a way of demonstrating the influence of allegory in the context of cinematographic narrative, three films realized by African filmmakers from different countries and generations will be considered, because their narratives bring allegorical constructions for at least two aspects: the perception of a crisis’s scenario 

(like identity crisis, artistic crisis or political crisis) and the intermingling of personal memories and collective memories as a subsidy for the construction of the film narrative. By associating such aspects, the selected films are: Soleil Ô (Med Hondo, Mauritania, 1967), Aristotle’s plot (Jean-Pierre Bekolo, Cameroon, 1996) and República di mininus (Flora Gomes, Guinea-Bissau, 2012). Based on this corpus and, in addition to such similarities between films, our objective with this thesis is observe the extent to which the presence of allegories in films made by African filmmakers can be considered as an update of oral traditions in cinema. An update that does not necessarily occur in terms of adaptation of african tales from oral traditions, but due a kind of mimicry of narrative gestures employed by the griot, especially the use of certain strategies common to narratives of oral tradition (presentification, repetition, digression and inversion) and that contribute to the composition of the allegory in the film narrative. Thus, at the time when we recognize allegory as a possible legacy of oral traditions in film narratives made by African filmmakers, we also admit that its occurrence is not an intrinsic property of the film narrative, but emerges from the relationship between film and viewer. Therefore, based on the semio-pragmatic model of film analysis (ODIN, 2000), we start from the hypothesis that the use of such strategies, by evidencing the mediation operated by the narrative, mobilizes the viewer to produce a specific way of film’s reading (allegorizing reading). It is from this relationship that the idea of narrative allegory arises, a concept that seeks to think allegory as a structuring agent of the narrative, offering to spectators new perspectives on how we relate with experiences of time (past, present and future) (GAGNEBIN, 1999) through the narrative. Starting from discussions (theoretical narratives) around film narratives carried out in the African continent and going through the narrative legacies of the oral tradition, we hope to finally offer an analytical alternative to this universe of films by valuing their narrative arrangements and, broader, contribute to studies in cinematographic narrative and discourse.

This thesis aims to understand how the synergy between managerial actions and desires for taking positions on the part of Cartoon Network managers and creative showrunner Rebecca Sugar made it possible to carry out a complex continuous narrative in the animated short series duration Steven Universe, launched in 2013. The construction of narrative pursuit in short animated series is unusual, however it was favored by bets from Cartoon Network, which, from the years 2010, created new programming models of its original series in order to make the competitive network in an increasingly fierce dispute with content streaming portals such as Hulu and Netflix. To analyze this phenomenon, we start from a theoretical-methodological approach that combines the sociological perspective of Pierre Bourdieu (2002) and the process of describing the style of Baxandall's artistic works. The Steven Universe production process was described from the problem-solution paradigm, which emphasizes the guidelines involved in the burden assumed by Rebecca Sugar and her team. This theoretical framework allowed us to analyze the construction of the seriality regime and the narrative pursuit of Steven Universe in view of the author's subjective intention and the Cartoon Network organizational projects. For the internal analysis, we start from models of composition of seriality regimes, especially those developed by Barbieri (1990), from the decomposition of the narrative fabric of the series into plots and threads, proposed by Araújo (2012) and the use of dramaturgy resources as described by Staiger (1977). At the end of the analysis, we found evidence that the synergy between management, production and distribution practices are proven and were successful in achieving the goals of Rebecca Sugar and Cartoon Network and brought innovation to the field of animated serial production.

Thisstudy seeks to understand and elucidate issues related to the professional and creative practices of the contemporary digital games industry from the concept of production culture. The objective is to investigate creative processes and professional practices, emphasizing the issue of storytelling in digital games and how they promote a unique narrative and aesthetics, which emanate and are directly related to the specificities of this support. We are particularly interested in the material constitution of video games, considering the different composites that integrate them and how they relate to each other, borrowing resources and languages from other media and associating themselves in an advanced stage of interdependence and mutual cooperation, which we call amalgamated forms. In order to accomplish this research, we combined methodological procedures derived from Baxandall’s (2006) inferential criticism, using a problem vs. solution paradigm to trace incumbencies and guidelines by observing the trajectory of the creative agents of our interest; and Caldwell's (2008) integrated industrial-cultural analysis, using different types of material records of the creative practices of game designers, in addition to the works and testimonies from the professionals themselves, with an autoethnographic content, in order to obtain a more in-depth and systemic view of what we now refer to as
the digital game production culture. This methodology was applied in a case study of the trajectory from the game developer company Blizzard Entertainment (1991-2020), offering a historiographic record of the mentioned period and highlighting the set of guidelines that led this agent during the creation of the World of Warcraft and Hearthstone games, specifically. Taking Hearthstone as an exemplary case, we analyzed
the narrative and transmedia project developed by Blizzard over the three expansions that made up the “Year of the Dragon” (April 2019 to April 2020), discussing the implications of telling a continued story in a digital game and how the storytelling aspects could be used, deliberately, in favor of the players’ engagement and the expansion of the fictional elements of both works (Hearthstone and World of Warcraft), culminating in the
formation of great transmedia pluriverses, who orbit around established digital game franchises but also reverberate in other media, formats and supports.

In this thesis, we carried out a qualitative exploratory research with young Brazilian adults (between 18 and 24 years old) in order to identify privacy management practices in interactions mediated by a Mobile Instant Messenger (WhatsApp). Currently, WhatsApp is used by more than two (2) billion users on the world stage, being the most used application on smartphones in Brazil to carry out sociability practices. Based on a descriptive and social approach to Privacy, we propose an approach between the studies of privacy management with the dramaturgical perspective of the social interactions of the theorist Erving Goffman. Based on reports from fourteen (14) in-depth semi- structured interviews, we analyzed how participants usually use WhatsApp in their daily interactions, evaluating the knowledge and motivations for using the privacy features available in the application, in addition to the perceptions and behaviors of privacy adopted in different social situations in everyday life. Based on the results, we identified how users manage their privacy on WhatsApp from different practices of delimiting the access of audiences in order to avoid inconvenient intrusions and transit through simultaneous representational regions. We also identified the use of privacy features available in the application as a way of regulating the visibility of social presence, in order to avoid the occurrence of demands for immediate availability.

The field of Brazilian journalism in the 21st century is a scenario of displacements arising from advances in information and communication technologies, coupled with socio-economic and political changes in a young democracy. This phenomenon is attributed to the process of mediatization in which social fields are crossed by the field of communication with greater intensity, reposition in agents, tensioning values and building new internal dynamics. Through the present research about the President Dilma Rousseff's impeachment construction, as a crisis event, covered by organizations Rede de Jornalistas Livres and Mídia Ninja we identified the mediatization of the journalistic field in aspects of organizational models, values and discourses. The crisis of the commercial journalistic model and its values of objectivity and impartiality open gaps for non-profit journalism models, native of digital networks and collaborative, as well as the experience of the organizations studied: Jornalistas Livres with a strong defense in the democratization of communications (Free Media) and Mídia Ninja activist of a "new" journalism, transparent and promoting social rights (Mediativism). Observing the institutionalization and form of relationship with the media, JL and MN are tributary to the value of news as a right and digital social networks as an arena for the exercise of information transparency, assumed as partial by principle. Thus, we visualize changes in the traditional communicative configurations of the journalism field in its main capital, the news, as well as the creation of bridges for the field of activism, what makes these vehicles "waves of mediatization" in the field. On the other hand, from the analysis of the discourse of articles, news, multimedia reports and other journalistic text son impeachment, in the period of 2015-2016 and carried out through software Atlas.ti, we detect enunciators with proposals of testimonial relationships and complicity with their readers. Through the concept of contract of reading we perceive the Rede de Jornalistas Livres witnessing the actions they covered, in real time, maintaining the hierarchy between enunciators and co-enunciators; Mídia Ninja broke the hierarchy by proposing a relationship of complicity between enunciators and co-enunciators, in order to bring events closer together through identity and participation. These contract sallied to the roles that both vehicles develop in the journalistic field revealed a discursive position, in the public’s here, contrary to the process of impeding the mandate of President Dilma Rousseff, for both an attack on democracy, thus a there at to development of journalism. In this sense, we perceive the mediatization of journalism presented in new formats of organizations, which dispute the news-capital at the same time as it transforms it and reveals new dynamics of construction of public opinion.

This work aims to advance   the research on Transnational Cinema, reflecting on the emergence of the phenomenon, its contours, overlaps and cleavages in the Brazilian context, specifically by analyzing some of Walter Salles' films. To do so, the dissertation draws on the works of Elizabeth Ezra and Terry Rowden (2006); Stephanie Dennison (2013); Deborah Shaw (2013); Mette Hjort (2010) and Hamid Naficy (1996, 1999), who are recognized for their efforts to map and critically address the occurrence of the phenomenon in different countries and cinematographic cultures. Thus, having the interest in confirming  the presence of transnational traces in  Walter Salles oeuvre, and accounting the analytical tools indicated in  the literature, this research analyzes three films by the auteur: Terra Estrangeira / Foreign Land (1995), Central do Brasil / Central Station (1998) ) and Diários de Motocicleta / The Motorcycle Diaries (2004). From the point of view of modes of production, distribution and circulation of these three films, while also considering the cinematic construction of the narratives, the investigation concludes that the works examined share elements that allow one to place them within what the scholarship has been called Transnational Cinema.

The purpose of this work is to evaluate the extent to which the radio news Voz do Brasil (News of the Executive Branch) follows parameters or values of performance linked to journalism and public communication. We argue that the program is a journalistic product of public communication (Bucci, 2008, 2015, Zémor, 1995, 2012, Jaramillo López, 2011, 2012, Brandão, 2012), specifically informing about the federal government. The dissertation proposes an evaluation of the criterion of impartiality (McQuail, 2012), a value formed by balance and neutrality, considered normative for both public communication and journalism. Through content analysis (Bardin, 2016; Herscovitz, 2007), the balance is verified by the sources present in the news report, categorized by nature and circumstance (Guerra, 2007). Neutrality is ascertained through the analysis of evaluative assertion (Bardin, 2016), by identifying judgments as neutral, favorable or unfavorable to the attitude objects - categories, people or topics addressed in the news. The results show, for balance: inequality in the access of sources to the radionews, with emphasis on the official sources (by nature), directly related to the promoters and authorized (by circumstance). For neutrality: the predominance of favorable evaluations to the objects of attitude linked to the government, with the absence of evaluations unfavorable to them and a minority participation of neutral evaluations in the studied period.

Since at least a decade ago, following a worldwide trend, the Federal government of Brazil endeavors a set of practices to open up the State. Between the main actions in this sense, there is the publishing of a big volume of government data in open formats, also known as open government data. The release of these data is sustained by the normative principles of open government. In this scenario, this dissertation has as the general objective to analyze the Brazilian open government policy and the open government data initiative. In order to do so, this work adopts two different research approaches, an institutional and a social one. Firstly, we analyzed what kind of projects, goals and principles are undertook by the analysis of governmental documents. The sample used in this research approach is composed by four national Action Plans elaborated with the Open Government Partnership and 25 Open Data Plans from the direct Public Administration. To the second approach of this dissertation, we considered the uses and social appropriations of open government data throughout the country. To fulfill this goal, we applied a survey to open government data users (N=81) and semi-structured interviews to five key-users. Results show that the Federal government open government and open government data policies pay attention to, mainly, projects related to transparency, participation and digital government. Regarding the type of these projects, firstly, early initiatives focused on training and education to public administrators, while more recently, there is a trend towards publishing data initiatives. Regarding open data uses and users, we identified uses to produce research and articles, to create APIs, websites and apps, to data visualizations, to audit the bills and governmental performance, to monitor public policies, to create services and to stimulate competition and economic growth. The research participants also indicated barriers and difficulties such as the low quality of released data, the lack of human and technical skills, the lack of organizations’ support and the fulfillment of the legislation.

This work seeks to reflect on the role of ambient sound in the development of the contemporary documentary film narrative. Based on the studies of cinema and sound in the audiovisual language, with reference to authors such as Michel Chion, Murray Schafer and Daniel Deshays, we understand sound as a narrative image, not just an "added value to the visual image" (CHION, 2008).

Studies of the Brazilian researchers Viviane Vedana, Joceny Pinheiro, Consuelo Lins and Cláudia Mesquita, among others that approach sound issues in Brazilian 

documentary cinema, indicate ways to investigate the modes in which ambient sound can narrate stories in these films. The objects of study to be researched are works by Evaldo Mocarzel (Quebradeiras, 2009), Maya Da-Rin (Terras, 2010) and Marcos Pimentel (Sopro, 2013), Brazilian filmmakers recognized for the production of documentaries that seek careful record and treatment of the surround sound.

We start from the hypothesis that there is a set of productions in the contemporary Brazilian documentary that point to the same path of exploring the ambient sound as a figurative accessory of the image. Based on the concepts of sound landscape, sound design and sonic hyper-realism, throughout the filmic analyzes we try to understand the ways in which the sounds of the environment are no longer used as a sonic backdrop to the images and they became, themselves, a narrative image, producing senses and sensations.

In order to perform such analyzes and to verify our hypothesis about the function of ambient sound in the narrative construction of a set of contemporary Brazilian documentaries, a perspective of internal analysis of the works was applied (AUMONT and MARIE, 2009), methodology adopted by the Nanook nucleus of documentary cinema, from the Laboratory of Film Analysis (LAF), coordinated by professor José Francisco Serafim. Understanding film as a means of expression, this type of analysis focuses on the film space as a text, while taking into account its context and uses cinematic concepts, which in the case of this research is ambient sound and its narrative function in different documentaries.

This dissertation deals with live transmission of journalistic audiovisual contents through social media. Its main objective is to identify and analyze appropriations of the Facebook Live resource in journalistic practices, in Brazilian newsrooms. We sought to characterize the live format in online social networks, to estimate and map their uses in Brazil, to identify how this type of production promotes continuities, potentials and ruptures, and to problematize the concepts of interactivity and continuous deadline mobilized by these productions. ‘Shaping’ and ‘social appropriation of technologies’ theories guided the research. Through methodological triangulation, using an illustrative case study, the research presents two qualitative analytical stages: 1) an exploratory research of three newspaper companies in Salvador (Bahia, Brazil), followed by 2) a documentary research of discourses around the live streaming. A quantitative step was also taken (with the metadata survey of 235,000 videos posted on Facebook, in 215 pages of Brazilian printed newspapers, news sites and TVs), followed by two other qualitative steps (with coverage analyzes of two convergent newsrooms, with headquarters in Rio de Janeiro and Curitiba). Pragmatic Analysis of Journalistic Narrative is among the methodological tools used in the dissertation. Nine professionals involved in the transmissions of lives (reporters and editors), were interviewed looking for contextualization and validation of results. The research leads to the conclusion that the use of Facebook Live is a national phenomenon, present in 81% of Brazilian newsrooms. It is a format that potentially combines greater engagement than recorded videos, presenting aspects of interactivity that demand new conditions of professional polyvalence, especially as it involves journalists without audiovisual experience. A new level of continuous deadline updating was identified in the course of the research, leading to the revision, 10 years after its formulation, of the idea of Live Streaming Journalism, in order to accommodate news productions based on intensive instantaneity. It was observed that those production, diffusion and consumption processes are synchronous and with high visibility of users' interactions, being potentially able to integrate the receivers to the content as coproducers in real time or current.

This work wants to understand the construction of digital influencers. To reach this goal, we analyzed, stressed and discussed the concept of digital influencer from the theoretical perspective of authors who research this concept (KARHAWI,Issaaf, 2017) confronting it with opinion leader (LAZARSFELD; BERELSON; GAUDET, 1948). For the accomplishment of the research we take as object in the empirical analysis the videos made by the journalist Maíra Azevedo, known in the digital platforms as Tia Má, published in her fanpage in the Facebook, that address feminist and gender issues. We have analyzed how Tia Má talk about feminism and how she fits into that debate, as well as verified which themes she chooses in her videos, analyzing how she treats them. Since Primavera das Mulheres, a period of feminist protests that broke out across the country in 2015 driven by digital platforms, several digital influencers are being relevant to the discussion of issues like feminism and racism. Tia Má is one of those personalities that appeared on the web whose message had national reach, including, today, beyond the digital platforms, traditional media. As a methodology for the analysis of the 45 videos published between 2016 and 2018 in her Facebook´s fanpage, that compose the sample, we usedthe concept of addressing modes (ELLSWORTH,Elizabeth, 2001) in order to understand how Tia Má addresses her audience and why the audience is interpellated by her videos. As a result, we find that Tia Má uses personal experiences and humor as strategies for transferring knowledge linked to the feminist production, especially of black feminists, by inserting herself in the debate on feminism (s), gender and race in order to criticize and deconstruct sexist and racist ideas.

The main objective of this thesis is to map the formation and action of sociotechnical actors that constitute the heterogeneous network of digital citizenship, including in this mapping the description and understanding of the elements that compose such a network. The research is based on the principles and foundations of the Actor-Network Theory applied to the notion of digital citizenship as a hybrid and plural process, of a techno-human condition, from the description and reflection of particular cases of people with physical disabilities (without full mobility of the arms, hands and fingers), aiming to identify and observe the actors, as well as their agencies and associations in all the particular moments that constitute the citizen activity, from the preparation of the objects to monitoring the activities online. In order to corroborate the concept of citizenship as a techno-human condition, based on Hannah Arendt studies, the categories of citizenship as labor, work and action are appropriate to account for the analysis of the trajectories of some subjects with physical limitations of health for connect to digital environments and consequently build their citizenship through digital platforms. Initiatives to publicize particular strategies for adapting technical equipment are mapped in order to identify the reasons that prevent and/or impede their access and also to know the characteristics of inventiveness and precariousness that are present in the individual processes of adaptation of the devices. The survey of empirical cases was done through the application of a questionnaire and interviews with the subjects in focus in this research, confirming the heterogeneous nature of digital citizenship.

This research is based on the assumption that there is an advertising dramaturgy, a construction of the drama that comes from the first narrative advertising films and that is becoming more complex as language evolves and we reach the period of what the market called branded content, where it is possible to observe in Brazil several cases of outstanding dramaturgical series. We assume that the advertising market is constantly changing and there is a tendency to create pieces that approach entertainment content, demonstrating a maximization of the narrative and dramatic resources in its creation as a strategy of approaching the public that tends to reject advertising content. Our hypothesis is that the advertiser's brand must be dramatically embedded as part of the story, not the other way round. And that the strategies of building brand values is what should be passed on in the plot, not the direct induction of a product. In order to understand the serialization strategy and the factors that lead to the creative choices and construction of values for the advertiser brand, we examined in the doctoral research the poetics of these works, trying to understand the narrative coherence and the dramaturgical functions of the brands in these products, showing how it was intended to construct , through them, empathy with the public. As an analytical clipping, we chose the Marias web sites of Intimus (Kimberly-Clark) and Antarctica Beer Boa (Ambev).

This thesis explores the relationship between body and wearable technologies, searching into the agencies that emerge from these associations and that produce the datafication experiences of physical activities. Fitbit was chosen as an empirical object because it ranks among the top three companies in the global wearables market. The main themes of 221,388 thousand (47.4% of the 466,758 thousand) discussion threads available in the social network of the brand, were analyzed. From this universe were also extracted 542 testimonies regarding body monitoring experiences of 288 users. In addition, the two most popular Fitbit products were examined – Charge HR in 2015 and Charge 2 in 2016-2017 –; as well as patent documents, privacy terms, press releases, financial reports and advertising content available on the platform website. The procedures adopted involved digital data capture tools (web crawlers) and content-focused analysis protocols in Atlas.ti software. Supported by the principles of the Actor-network theory and on the new materialism approaches, our perspective defines body and smart things not in terms of what they are but in terms of the actions they both do together under the algorithmic mediation. By the exploration of Fitbits ’computational procedures and the user monitoring practices identified we propose that the wearable devices establish body connections that are particularized by three central characteristics: the algorithmically performative aspect of relation; the machine learning capacity and mimicry of the actions produced during interactions; and the experimental and heuristically controlled nature of the experiences of use. Our thesis is that these particular ways in which these associations act create the conditions for bodies and smart things to be built trough processes of mutual learning, also producing what we propose to call Smartbodies: a (bio)infocomunicational instauration that are carried out by the body’s sensitization to the digital methods of capturing, analyzing and visualizing data implemented by wearable computing. The Smartbody represents two important practical consequences of the relationship between digital technology and the body nowadays. The first one concerns the translation of bodily acquisition experiences into digitally traceable events. The second one refers to the bodily instaurations that emerges when bodies begin to learn to be affected by the algorithmic methods and then start to interact with the world through computationally modeled repertoires. Faced with the increasingly diluted presence of these smart technologies in everyday life, it is expected that the investigative approaches adopted in this work may provide a theoretical-methodological instrument for future analysis of other communication phenomena in digital culture.

The Northeast concentrates a large group of social representations associated with a Brazilian region. Discusses which are related to their natural features and the livelihoods of the social groups that reside in it, rely on the performance of the producers and creators of artistic and media goods, among them the telenovelas and their dozens of plots set in the region. Aware that the ways of representing the Northeast in the plots are the fruits of choices made by its creators - and that such decisions have direct relations with the position that these creators occupy in the telenovela field -, the thesis aims to understand how the representations of the Northeast were constructed and narrated in the telenovel Velho Chico (REDE GLOBO, 2016, 21h) by the responsible creators, author-writer Benedito Ruy Barbosa and artistic director, Luiz Fernando Carvalho. We work with the hypothesis that the work arises with the purpose of developing a point of view about the region, a perspective that shows the Northeast as a place of diversities (natural, cultural and human), of struggles (conflicts of generation, of class and of search for political awareness) and of great sources. A microcosm that allows reflections on the country, with its problems, conflicts and hopes for a better life to their citizens, a more rational and sustainable future. As a theoretical reference, studies were carried out on the representations of the Northeast in the artistic topic that became stylistic references for the fictional and dramatic treatment of telenovelas, as well as ideas about the development of regionalism, notes on the part of the region bathed by the São Francisco River ( after all, it is in this part of the Northeast where the plot was set) and thoughts on the television making itself (considering the particularities of the product in question, telenovelas). The theoretical and methodological perspective adopted is based on the concepts of field, habitus and social trajectory of agents, groups and institutions responsible for the ways of representing the Northeast in telenovelas. As a methodology, besides the bourdiesian perspective, the problemsolving approach was used for the textual analysis of soap operas, used by researchers such as Gombrich, Baxandall and Bordwell, in association with the telenovelas analysis method developed by the researcher Maria Carmem Jacob de Souza. An investigation that tries to relate the external dimensions of the production of the representations with the internal dimensions of the editorial choices of Barbosa and Carvalho in Velho Chico, with its attempts to represent the Northeast as a place of riches, struggles and redemption of brazilian identity. In this hole, two major themes were considered, which are a great deal to the creators of the plot: work and politics. In addition to starting from already consecrated images to make a new and critical reading of the region, Velho Chico presents the Northeast as a cradle of riches and cultural traditions, and values work, union and popular awareness as the true paths to dignity, happiness and the attainment of a more prosperous life.

Crime fiction has occupied an important part of the television schedule worldwide, for as long as there
has been television. In fact, crime drama is the most produced and most exhibited category on American
prime-time television and occupies a significant portion of the British television schedule. We have
seen, in the past five years, the exponential growth in the number of crime series. In 2014, we identified
2.773 investigative series cataloged by IMDB; in 2019, there were 5.670 titles.
In this context, in which a series competes for the audience’s attention with other similar products, we
observe the success of adaptations that update the adventures of two of the oldest (and most recognized)
characters of the genre, Sherlock Holmes and John Watson: the award-winning BBC series, Sherlock
(2010-2017) and the popular CBS investigative series, Elementary (2012-2019).
Our starting point was to try to understand how the same character, from the same source of texts, can
be flexible and adapted in two very different products. Following a different perspective from recent
research, we study how traditions influence the creation of works. Verifying how the characters –
Sherlock Holmes and John Watson – were presented in the two recent serialized modernizations,
Sherlock and Elementary. Observing the construction of the series’ identities, focusing on how the two
series negotiate with the established conventions of investigative series, with the elements from the
adventures of the classic detectives and with specific industrial practices (from BBC and CBS channels).
We try to answer how traditional and conventional elements appear in products; how to create, within
strict categories; and innovate, without losing the recognizable attributes of the genre.
In this investigation, we approach Sherlock, Elementary, stories and adaptations of Sherlock Holmes
and crime fiction. Studying crime fiction is dealing with a popular and widespread genre, considering
the importance and notoriety of the genre, whether in literature or in audiovisual. Researching Sherlock
Holmes is deal with the best-known and most adapted character in the world, it’s thinking about the
importance and relevance historical, cultural and economic of the character and his adventures.
Analyzing Elementary and Sherlock allows us to approach serial narratives, a television product that
increasingly gains space and notoriety among the audience, the critic and scholars, investigating and
testing methods of analysis. This thesis dialogues and corroborates with television studies, with
investigations of products associated with strong traditions, as well as contributing to analysis of
adaptations whose source text is widely known.

This dissertation examines the manner in which The Wire’s narrative and stylistic structures at once produce a fictional world that is particular to the TV show and cast over that world an illusion of reality. The goal of our research is, thus, double-edged. On one hand, we’re interested in analyzing how The Wire produces a distinct fictional world, organized by its own set of rules and notable for the events, settings, characters, and atmospheric qualities that emerge along the show’s five seasons. On the other hand, we’re also interested in analyzing the ways The Wire casts an intense impression of lifelikeness over said world, making it feel similar to the portion of our own reality the series more directly allegorizes. In this journey, we take on the approach of Poetics, characterized by the meticulous observation of the ways the narrative and stylistic devices of a medium take form in a particular work. In our case, the approach of Poetics helps us understand the ways The Wire engages its mise-en-scène and the narrative, dramatic, visual, and auditory devices it employs both to create a unique fictional world and to evoke reality effects. At the end of the analyses, we hope to demonstrate how The Wire builds an ontic sphere distinguished by the tension between the oppressive institutions of a decaying city on one hand and the individuals captured in their web on the other. On that same note, this research also investigates the ways the show invites us to read reality itself through those same lenses of institutional oppression, thus evoking realism. Beyond that, we also explore how the patterns that govern the show’s plots and serialized structures produce a very unique temporal dynamic. In The Wire, events are themselves highly significant are cyclically organized, and yet the series is able to produce a strong impression that it only linearly ensues events that are random and, very often, ordinary, the same way “real time” allegedly does. In this whole effort, the dissertation anchors its findings on a set of creative parameters adopted by the series creators, and on how those parameters at once help create the show’s unique word and evoke its reality effects. Beyond that, we also anchor our findings on the ways The Wire recreates real stories and individuals, and on the show’s moorings on melodrama, the police procedural, and the cinematic style of the Italian neorealist movement.

The present thesis from a feminist and antiracist perspective contextualizes studies focused on aesthetic experience, proposing a decolonizing and decolonial view on aesthetic cultural epistemologies. The study is developed from the intersection between aesthetics and politics, contextualizing the Bahian feminine musical production in the national context of what has been denominated as generation tipping. I propose the apprehension of aesthetic experience based on the concept of writing, proposed by the writer Conceição Evaristo (2007), while a methodology that by pointing to the performance writing as a political strategy allows me to dialogue about the musical production of black female singer-songwriters from Bahia, reflecting on the presence of black and female bodies in Brazilian music production. At the same time, it allows me to locate my own black female body as a researcher and supporter of this musicality, which analyzes the artistic trajectory of four Bahian singer-songwriters who have musical projects with elements linked to black ancestry and black feminism, thus perceiving the resemantization of meaning of an aesthetic that historically denied AfroBrazilian culture. Approximation of the concept of writability of Conceição Evaristo (2007) to the understanding of political writing for Jacques Ranciére (1995). The writing of a community, as a pupil, is observed from three elements: 1 - body; 2 - writing a black condition; 3 - experience. Statistical theory and methodology conceptually guide my thesis where my place as researcher is shared in tune with localized and self referenced knowledge from my black corporeity. In this sense the aesthetic common draws me closer to the story of the cantautoras described above, in a place of demarcation of the individual stories but at the same time with traces in common between them and with my own corporal self-perception. Voice and its racialized and racialized performances allow the understanding of the aesthetic experience intersected by the social markers of difference, such as race, gender, and class, engendering an experience traversed by the ancestral legacy of body memory and the voice of black Bahian women making their self-incriminations in a space-time. An understanding of the body as a place of memory as Leda Martins (2018) suggests. The relationship between female black bodies, their gender identities in the construction of a musical aesthetic project is thought here in a process of reification of memories, a spelling or writing that is drawn in their performances.

In this research we aimed to understand the transformations of postindustrial journalistic practice especially regarding the dynamic among journalists, sources and audience in the production process from an empirical study of the coverage of climate migration phenomenon in digital media, in 2018. We analyzed content served in two product groups, separate as reference and free and alternative media products. The first brings together The New York Times (USA), El País (Spain), Al Jazeera (Middle East) and The Guardian (Nigeria). The second consists of Mediapart (France), The Conversation (Australia), Other Words (Brazil) and The Quint (India). Our theoretical-methodological approach was built from Content Analysis in association with journalism studies to analyze information sources and reflections on the notion of author in journalism. The concept of the social field was fundamental to understand the logic of the journalistic field and the ongoing changes reflecting the growing process of society mediatization, especially after the advent of the internet, which provided the multiplicity of content producers in digital media. Our proposal to classify information sources proved operative to identify the authors, allowing us to investigate the social actors authorized to participate in the post-industrial journalistic production process. We conclude that the predominant criterion for the information sources selection, their social position, was applied in the process of selecting sources and audience members who were “signers” of content in the analyzed products. The horizontality in post-industrial journalistic production was selective, and the specialists with institutional ties were the social actors authorized to participate in the production process as “signer-author” of content on this issue in the products of the corpus. Although there is a multiplicity of content producers in the digital environment, the logic of the journalistic institution that authorizes only social actors with symbolic capital, with recognized social position, to produce content in its domain, even though they prevail restricted to opinion editing. Social actors involved in the fact/phenomenon, such as witnesses, participants, citizens and activists, were excluded from the public visibility space that is journalism, little triggered as sources of information and nonexistent as content producers, which does not contribute with a clear public opinion on this problem that reaches everyone even disproportionately. In post-industrial journalism the separation of facts x opinion has been put on hold. In the free and alternative media products analyzed, the opinion column was extinguished and the contents produced by agents from other social fields published in spaces equivalent to journalistic production. The nomination given to the displaced as well as the phenomenon differed among the products, and the geographical proximity of climate extremes and their consequences meant that the migratory phenomenon was nominated in countries whose populations are in exodus while the displaced named indiscriminately as migrants and/or refugees in products from regions receiving the caravans. The framing of the risk in the contents showed that the problem is surrounded by a notion of risk that permeated practically all productions, linked to both the causes and consequences of the migratory flow. However, there is a divergence between the prominence given to the risk that has been placed on the opening elements especially in the Middle East product.

The present work is the result of an effort to investigate the process of reconfiguring The Voice television format, copyrighted by the Dutch company Talpa, to the Brazilian national scenario. By analyzing the current six seasons of The Voice Brasil, produced and broadcast by Brazilian television network Rede Globo between 2012 and 2017, we try to understand how, and through which articulations, the program is reconfigured to our local setting. In an approach associated with Cultural Studies, the program is seen here as a cultural form with meanings and values that emerge from specific cultural frameworks and historical contexts, leading us to the premise that this configuration process could not be simply described as an adaptation or a remake. In this sense, the concepts of television format and television genre are used to guide our analysis of the program through a perspective in which the product’s identity and mechanics are defined not exclusively by the broadcaster's logic, intentions, and efforts, but also by an active audience that shares experiences and references from the specific context in which the program is being run. In Chapter 1, the articulation between television format and industrial format, the latter a concept proposed by author Martín-Barbero (2015), leads us to a format that is built by the broadcaster and its production logic, but also by audiences and their historical cultural matrixes. In Chapter 2, we observe how the program builds a specific sense of reality in the interaction with the different temporalities of reality TV, showing us a competition where forged rules appear articulated with the authentic, spectacle with daily life, the backstage with the main stage, the talent with the stories of the participants. The concept of television genre as a cultural category and a communicability strategy appear as a methodological possibility (MARTÍN-BARBERO, 2015; MITTELL, 2001) helping us to understand not whether The Voice Brasil can really be classified as reality TV. Instead, it shows us how the program disputes and constructs meanings regarding this specific sense of reality. Chapter 3 uses television genres as "figures of historicity" (RIBEIRO, LEAL & GOMES, 2017), seeking clues on how the program gains meaning in the diachrony of Brazilian TV references, but also in the foreign backgrounds and the audiovisual resources used in international television broadcasts. The course of these three chapters leads us to the conclusion that a television format such as The Voice and its local reconfiguration, The Voice Brasil, are developed through the institutionality and technicities of production institutions interested in maintaining the identity and the market value of their product, but, at the same time, in articulation with cultural and societal practices. In this sense, attributing The Voice Brasil reconfiguration process entirely to the broadcast and foreign audiovisual forms is not sufficient for understanding the dynamic in which the local exponents of this television format operate, gaining specific meanings in reading paths that are designed in connection with cultural practices and television matrixes of this new scenario.

The series Os Noris, aired by Rede Globo de Televisão, aired between 2001 and 2003. As a way of presenting situations related to the daily life of a middle-class couple, residents of the southern zone of Rio de Janeiro, elements of metalanguage, expressive resources of the audiovisual language as comedy devices. During more than seventy episodes, the adventures of Ruy and Vani presented a peculiar way of making serial comedy, especially for emphasizing characteristics of television making, imbued with the spirit of somehow undressing television making. This work is an attempt to approach some of the comic devices used in the series, but with a dialogue with a thought about metalanguage on television. Thus, the first texts present an overview of the metalinguistic experiments that took place on Brazilian television, especially at the end of the 1980s, led by Guel Arraes. There is a discussion of the importance of this director who became director of one of the most important and respected nuclei within the network. The work follows with a text about the televising experience of The norms: how was the repercussion of the series in newspapers of the time, the question of the audience, the production and execution of the series. The next step is to interpret the emergence of a new creative nucleus from the Guel Arraes core. It became necessary, therefore, to discuss and analyze the trajectory of three important names for the series and the formation of a partnership that would follow for many more episodes and series in subsequent years. From the text But after all what is metalanguage in television?, We have more in-depth considerations on the theme that interconnects the texts present in this work. With the understanding of the nature of metalanguage on television, we analyze the construction of the characters in the series and the use of expressive editing and editing resources that show the manipulation of images as comedy devices. It follows, in the end, a closure on the issues raised during the research and writing process.

Facing the assertion that performance acts are phenomena whose emergence occurs with the interaction of the artist with his audience, the research problem that is drawn in this dissertation proposes to investigate and understand how the performance of Led Zeppelin, based on repetitions and singularities, is part of the rock genre. Thus, a look will be released on Led Zeppelin's performance in two audio-visual products, the Earls Court Arena and The song remains the same. In this way, it is necessary to reflect on the importance that the media play in this process of aesthetic character, in the sense of understanding how they influence points that influence the construction of performances and the occurrence of meanings. In addition to the aspects related to the media issues linked to the performatives, this work establishes a link between performance and musical genre, considering that Led Zeppelin is a band that subscribes to the rock genre and dialogues with its conventions. Also, in observing the reiterations of some rock traditions, it is also intended, in this investigative way, to perceive aspects sigularizantes of the performance of the band that can emerge of the bulge of conventional aspects of the genre. In this sense, this research articulated concepts inscribed in the field of performance and communication to generate an analysis about cuts that allow relevant conclusions about the performance behavior of Led Zeppelin.

This work aims to observe the disputes of meanings around the link between political and journalistic cultures configured in the homonymous works House of Cards. House of Cards was first released as a book in 1989, published by Michael Dobbs in the UK. After becoming a BBC miniseries in 1990, it went through a reissue and became a trilogy with the books To play the King (1993) and The Final Cut (1995), works which were also turned into TV series by the BBC. Twenty-three years after its British premiere, the United States are chosen as the setting for the version produced by Netflix streaming. The three narratives show us interesting perspectives on the disputes of meaning, the circulation of their values and their consequent transformations. These dimensions are important because they bring us a clear perception of the distinctions of productive, political, historical, and cultural contexts. Thereby, we understand that journalism and politics are discursively institutionalized, as of culture values, was well as configured as social institutions. We present to this understanding the sense of transformation presented by Raymond Williams (1979), as he deals with the cultural hypothesis of the Structure of Feeling. Thus it allows us to observe the past-past, present-past, and present-future dimensions – understanding how the active elements in certain culture are characterized in relation to what is hegemonic. Hence, we observe the audiovisual perspectives presented by the series, used so as to observe the cultural transformations that lead us to recognize the meanings and values of journalism in articulation with politics. This work advances through Jesus Martín-Barbero's (2013) mediation map, because it allows us to understand that the values of both journalism and politics that are found in the narratives talk about the culture in which they circulate and where they were produced. This work is substantiated by Cultural Studies to understand the relationship between culture and communication, since we do not only look into the House of Cards products to describe them, but we observe them to see how the relationship with culture and its transformations take place.

This thesis examines the experience of playing a videogame. The research problem lies in the interaction between the game and the player, identifying and discussing intervenient variables to the interchange that is established in these situations. Thus, the observations include some of the most important contemporary technical objects capable of emulating what we call videoludic works. In this sense, we pay special attention to the exchanges that take place between the videogame and its user – taken as an organic entity, endowed with sensory, perceptive, cognitive and performative faculties. To deal with the chosen question, the study starts from Pragmatism and enters the fields of Communication, Game Studies, Design and Medicine. In this way, the key concepts developed here are experience and “an experience”, materialities, performance, flow, as well as other ideas that emerge from game design, ergonomics and studies on the human body. The methodological procedures taken in this work mostly depart from the author’s own experience as a player. Thus, game situations are identified and discussed in the light of the mentioned fields. The thesis, finally, aprehends the act of playing as something connected to performance, capable of promoting aesthetic experiences in which the media – devices and bodies – are not indifferent.

This doctoral dissertation aims to understand how the structural homology between dispositions and desires of position-taking by some of the managers of internet-distributed television portal Netflix and by the creative team of comedy series Arrested Development, in the historical moment of American television series production field in the beginning of 2010’s, allowed the maintenance and the exacerbation of innovative and experimental characteristics of aforementioned series in the narrative construction of fourth season’s episodes, integrally released on the online streaming service in 2013. The construction of the comic effect of the show’s fourth season, through temporal alternations and narrative fragmentation, was designed, for example, by keeping in mind the possibility of continuous viewership of the 15 episodes – the binge-watching phenomenon, characteristic of Netflix’s distribution model. Such decision resulted in a radicalization of the construction of seriality and of the puzzle-like design of the narrative. To analyze this process, we relied on the theoretical repertoire of Pierre Bourdieu, especially the sociologist’s notes in the book The Rules of Art, in order to understand Netflix’s operation in the production process of Arrested Development through the idea that the series production constitutes a field, which implies a social space of position-takings (both creative and managerial) by the main social agents involved – particularly, companies’ original programming development executives, and showrunners, chief-writers and executiveproducers responsible for the creative teams that work in such television series. In association with Baxandall’s (2006) and Bordwell’s (2008) perspectives on style, Bourdieu’s approach allowed us to build a theoretical-methodological framework that contributes to overcome the antagonism that divides academic researches between those that examine authorship in cultural products focusing solely in form and content, ie the artwork’s poetics aspects, and those that understand the relations between the contextual conditions of series production amid distribution and production companies, the creation processes executed by creative teams involved in the series, and the instances of recognition of such experiences. Therefore, bourdieusian reference instigates the relational analysis of both instances – production’s and artwork’s – in a comprehensive viewpoint of the television series itself and of the social agents involved (production organizations and creators), according to specific logics in dispute in the social, economic, and media scenario in which they are inserted. In the case study of the production of Arrested Development commissioned by Netflix, we investigated the positioning of the internet-distributed television portal (Lotz, 2017) and its trajectory in the market of licensed audio-visual distribution, as well as the moment in which the company inserts itself in the field of television series production by investing in the television series format for exclusive circulation through the internet. We also explored the competitive context of the field, which allowed us to understand the manager’s choices of investing in original programming, as well as the role of Netflix’s management in taking risks and positioning itself as a place of creative freedom and autonomy in its first investments, in 2013 – positioning that is essential to understand the position-takings of showrunner Mitch Hurwitz in the innovative and experimental narrative construction in the fourth season of Arrested Development.

Configuring a problem between subjectivity and journalism from a theoretical-methodological framework of cultural studies, especially in its English affiliations, this doctoral thesis analyzes three contemporary Brazilian television journalism programs. A Liga (Rede Bandeirantes), Profissão Repórter (Rede Globo) and O Infiltrado (History Channel) are taken for analysis from the performance conventions built for their mediators. In this sense, we argue that the context that Jésus Martín-Barbero identifies as that of a techno-communicative environment, from which not only the media are crossed by culture, but also culture by media, is central to the emergence of communicative forms, also in journalism, which give a privileged place to the self-talk of contemporary subjects. By incorporating the subjectivity of the reporter's account by the presence of mediators who exhibit live performances of the situations they report, the programs that constitute our corpus seem to propose a new form of legitimization of contemporary journalism and construct a way of authenticating the information that no longer passes through the classical discourse of objectivity as a distance between journalist and fact, but is anchored in a perspective of personal sharing, account of oneself as a place of recognition of the common experience in today's Western culture. In this sense, we understand that it is necessary to think about journalism from a broader network of relationships than that configured by the discourses that affirm it only, or priority, from the rationality. Operated from the methodological concepts of gender and mode of address, as proposed by Gomes (2007, 2012), the analysis undertaken here seeks to identify, at first, which disputes about the values that legitimize journalism as a social institution are involved in the development trajectory of the Brazilian television reporters' performance convention. Through this analytical approach to the historicity of the genre, we have been able to identify a context of strong institutional regulation in journalism and television – both by a military government that engages directly in television programming and by a moment of professional consolidation of the journalist's role – configures the adoption of an objective language as a place of control and regulation of possible subjectivities. The analysis of a more contemporary context – deepened by an approach to the modes of address of A Liga, Profissão Repórter and O Infiltrado – leads us to argue that the transition of the television reporter's performance convention, as indicated by Gutmann (2014), is not currently reconfigured more from the performance of a persona reporter, who figuratively positions a citizen subject in his statement, but by the emergence of an action from which the reporter summons singularities that define him as a specific character. The theoretical-methodological course of discussion of the issue of the subject by authors related to cultural studies and the observation of the conformation trajectory of the television reporters' performance convention in Brazil support our argument that journalistic objectivity, rather than building a body to the news service, acts as a regulator of possible subjectivities.

The main concern of this thesis is to understand the implications of the expansion of mediatization for the journalistic discourse that creates new conditions for its production and circulation. Two rival digital newspapers, Estadão (O Estado de S. Paulo) and Folha de S. Paulo, were chosen for the study because they are among the top newspapers by circulation in the Internet. They also have been investing in digital insertion in social network sites. The Internet and the popularization of its social networks spawned new habits of information consumption that have been having an impact on the relationship between newspapers and their readers. This contractual bond is especially present in its enunciation strategies. The research was structured in three main lines of investigation: (1) the characterization of the conditions involved in the production, circulation, and recognition of discourses, according to the concept of mediatization, through bibliographic review; (2) the analysis of the discursive positioning of two competing and reputable digital newspapers, identifying regularities and differences in the strategies adopted in their home pages and respective Facebook pages in 2016- 2017 period; and (3) a case study, which consisted of the analysis of the coverage of an online event by the same publications. The analyzed case, the collective rape of a 16-year-old girl in Rio de Janeiro, achieved high visibility by reverberating through social network sites and applications, by the online mobilization of women's defense groups. Two main hypotheses motivated the investigation of (i) the strengthening of strategies aiming to encourage reader’s fidelity, and (ii) the incorporation of linguistic resources commonly used in online interactions, what would lead to a higher discursive convergence between the competing digital newspapers on Facebook. Two other hypotheses were considered during the investigation of the new dynamics of signification and circulation of events by the mainstream media: (I) a possible symbiosis between what’s popular on social networks and the mainstream journalistic agenda, and (II) a change in the media coverage of events – such as campaigns and demonstrations, carried out by minority groups on social networks -, especially when they already have online visibility, through their presence as main sources. Although it does not mean there are discursive ruptures, notable differences corresponding to the adaptations made based in the new conditions of production and circulation of the journalistic discourse were identified throughout the research.

This dissertation investigate the transformation of the popular on Globo, from a cultural analysis of the programs presented by Regina Case: Programa Legal, Brasil Legal, Muvuca, Central da Periferia and Esquenta!. We found, in brazilian studies of television, a number of studies that focus specifically on analyzing the qualities of
television products, especially those that are configured from a markedly popular language, classified as products of "low culture". Contrary to this perspective, we take the popular term from the perspective of cultural studies: a place of confrontation, marked by the presence of communications technology, and a movement that gives meaning expressions of popular culture in the mass culture environment. From cultural studies, the analytical process of this research directs his gaze to the five programs presented by Regina Case on Globo to see how it was constructed, historically, a specific type of popular program, with elements that indicate a processes of continuities and breaks in the television language, and reveal the relationships of programs with the Brazilian cultural contexts. We use some key concepts to develop a theoretical and methodological guide: the concept of television genre as a cultural category, operationalized by the concepts of communicative context and performance. Structure of feeling is used to enlarge our vision of the historical constitution of expressive and discursive marks of programs that say about a way to make and display specific television programs over the subaltern classes. We use a research on the popular historicities on Brazilian television to understand how to access mechanisms experiences lived by the popular classes are transformed to the point of setting up the existence and naturalization of a program like Esquenta! in the schedule of Rede Globo.

This paper aims to examine the status of conversation among media outlets and their readers in online social media, specially Twitter. Assuming that this new environment leverages characteristics of online journalism as interactivity, this paper aims to reflect on the status of the interaction between readers and journalistic media in social media, identifying and classifying levels of this interaction in a conceptual theoretical and empirical perspective, creating categories based on the concepts of mutual and reactive interaction.

This study analyzed the representations of national identities and individual
presents in addressing the issues that deal with intercultural contacts promoted by
migration and travel in the soap opera India: A love Story, written by Gloria Perez,
produced and exhibited by TV Globo in 2009. The dimension of authorial soap operas
screenwriter Glória Perez was examined, taking into account the context of massive
cultural production of this product that has high visibility in Brazil and international
representation, being conducted by communications company leader in this area. We
develop the concept of field soap opera to understand the relationships between brands
authored by Perez observed in the treatment of the cultural theme in her novels and her
trajectory in the field of consecration. We point out that the author chooses migratory
movements to situate discussions of cultural contact in her soap operas, specifically in
India: A love Story, the screenwriter broadens the perspective of these contacts, seeking
to illustrate the diverse experiences of contact as the treatment of the Other as exotic,
cultural absorption, conflict and misunderstanding of other cultures.

In the production of Brazilian culture, architecture and music have been known nationally and internationally, and that the universe Italian-Brazilian architect Lina Bo Bardi and the Bahian composer and singer Caetano Veloso became unusual personalities. Because the original composer and a sort of ambassador of Bahia and given the experience in cultural activities developed by the architect in the city of Bahia / Salvador between 1958 and 1964 and between 1986 and 1990, this was taken as a matter of culture and point of departure for this study, which aims to establish similarities and differences between Lina and Caetano to the representations of the city based on the images and language of her and him. We work here with the notion of representation based on the concept of cognitive mapping of F. Jameson. Therefore, the matter rests on the methodological procedures based on reading the thought of Caetano - manifest in his music, his lyrics and his statements - and Lina - present in its architectural interventions and its cultural production, and the thought of theorists culture and architecture. This research assumes that there is no true maps to show the images of a city can be represented by mental maps that the city has in memory, so as to reveal that, although Salvador / Bahia and their issues should be on the map and are experienced and represented by the culture, was still a need for translation of the positioning of individuals and collective beings supposed confusion in space, in an era of globalization, to revalue this space. In other words, a cognitive mapping of the readings, images and singularities of the city of Salvador is representative of a hard "glue dialectic."