Práticas e características do jornalismo alternativo e contra hegemônico de agência de informação: uma visão a partir da rotina produtiva da Adital

The strong presence of the communication and information technologies (TICs) forced the productive routine of some media vehicles to go through significant changes. The same happened to the alternative agencies segment. Having a scarce literature and sources about this subject, this study’s objective is to understand how the Information Agency Frei Tito for Latin America (Adital) develops its proposal of alternative journalism, within the cyberspace, while aiming a Christian communication. For this finality, the study will describe and explain the practices of journalistic production, identifying the subjects involved and the relations maintained between them in this productive routine. Also, it will trace who and where these content replicators are and/or their online address. At first, it was presented a theoretical discussion about the concepts of “counter-hegemony”, alternative journalism and communicative citizenship, what brings us to the studies of Gramsci (2010), Peruzzo (2011), Moraes (2013), Paiva (2008), Coutinho (2008), Mata (2006), among other authors. Next, it will be approached briefly the historical path of the information agencies around the world and in Latin America, so that the study can focus on authors like Aguiar (2009), Pasti (2013) and Moraes (2010). This piece will draught a “methodologic route” for a qualitative approach with an exploratory and descriptive character. We gave up the etnometodological methods, what allow us to analyze the etnomethods or behavioral groups of action, procedures, activities and knowledge that constitutes these groups, giving them recognition and distinction. (COULON, 1995). To achieve the defined objectives, it was also used a bibliographical and documental research techniques, in addition to subject observation and semi-structured interviews. Finally, we analyze the collected data taking into consideration three pivots: the beginning of Adital; the practices, characteristics and subjects involved in the productive routine of the agency; and who are and where are these content replicators of content produced and transmitted by Adital. We can conclude that the production routine of an alternative agency and the counter-hegemonic of information is marked by some singularities regarding to the organization of the journalistic practice and to the obstacles found on the way. Our data allows us, even if there are still some doubts, to believe that Adital is a sort of independent information agency, alternative and counter-hegemonic, ergo, more close to a proposition of communicative citizenship.

Práticas e características do jornalismo alternativo e contra hegemônico de agência de informação: uma visão a partir da rotina produtiva da Adital

The strong presence of the communication and information technologies (TICs) forced the productive routine of some media vehicles to go through significant changes. The same happened to the alternative agencies segment. Having a scarce literature and sources about this subject, this study’s objective is to understand how the Information Agency Frei Tito for Latin America (Adital) develops its proposal of alternative journalism, within the cyberspace, while aiming a Christian communication. For this finality, the study will describe and explain the practices of journalistic production, identifying the subjects involved and the relations maintained between them in this productive routine. Also, it will trace who and where these content replicators are and/or their online address. At first, it was presented a theoretical discussion about the concepts of “counter-hegemony”, alternative journalism and communicative citizenship, what brings us to the studies of Gramsci (2010), Peruzzo (2011), Moraes (2013), Paiva (2008), Coutinho (2008), Mata (2006), among other authors. Next, it will be approached briefly the historical path of the information agencies around the world and in Latin America, so that the study can focus on authors like Aguiar (2009), Pasti (2013) and Moraes (2010). This piece will draught a “methodologic route” for a qualitative approach with an exploratory and descriptive character. We gave up the etnometodological methods, what allow us to analyze the etnomethods or behavioral groups of action, procedures, activities and knowledge that constitutes these groups, giving them recognition and distinction. (COULON, 1995). To achieve the defined objectives, it was also used a bibliographical and documental research techniques, in addition to subject observation and semi-structured interviews. Finally, we analyze the collected data taking into consideration three pivots: the beginning of Adital; the practices, characteristics and subjects involved in the productive routine of the agency; and who are and where are these content replicators of content produced and transmitted by Adital. We can conclude that the production routine of an alternative agency and the counter-hegemonic of information is marked by some singularities regarding to the organization of the journalistic practice and to the obstacles found on the way. Our data allows us, even if there are still some doubts, to believe that Adital is a sort of independent information agency, alternative and counter-hegemonic, ergo, more close to a proposition of communicative citizenship.

Para um cinema da crueldade em Antonin Artaud

Antonin Artaud (1896-1948) est un poète, acteur, dramaturge et écrivain français né à Marseille, mais dont la vie artistique se développe principalement à Paris. Artaud est l'auteur de la notion bien connue de Théâtre de cruauté, qui inspire encore aujourd'hui de nombreux groupes de théâtre dans différents coins du monde. Il a écrit sur le théâtre, la poésie, l'art, la philosophie, entre autres. De 1924-1935 est également dédié au cinéma, à la fois dans son théorique et pratique. Une étape un peu inconnu et peu exploré dans sa vie. Elle a joué dans 22 films avec certains des réalisateurs les plus importants dans le monde, et a laissé huit scénarios, dont un seul a été realizé, et huit écrits théoriques sur le cinéma. Cette thèse cherche à examiner précisément cette période insuffisamment étudié dans sa carrière, à partir de trois questions initiales: Artaud développé un sens de la cruauté au-delà du théâtre? Nous pouvons penser à la culture de la cruauté envers les films, en d‘autres termes, un cinéma de la cruauté ? Nous pouvons penser sur le sujet contemporain de cette culture? La réponse à ces trois questions est oui. L'idée de la pensée de la cruauté au cinéma est intervenue concomitamment à leurs expériences et élaborations de ce qu'il a appelé Théâtre de la cruauté. Les deux réflexions sont donnés concomitamment et de manière récursive. Plus que cela, toutes ses productions artistiques, dont la poésie et la peinture, ont été traversés par la notion de cruauté. Nous concluons que leurs élaborations sur un cinéma de la cruauté a eté interrompu au moment même que le développement technique a souligné la possibilité de sa réalisation. De plus, à l'enquête de son travail, nous pouvons voir que presque toute sa pensée a été préparé sous les images, de sorte que nous pouvons même parler d'une pensée cinématographique d‘Antonin Artaud. En conséquence, nous ne concevons pas sa théorie au septième art comme secondaire à leurs intérêts, comme le rapporte la plupart de ses commentateurs, mais absolument essentiel dans le développement de ses écrits, qui jusqu'à maintenant accumulé plus de deux mille pages. En outre, Artaud ne pense pas l'art pour l'art, mais seulement comme un dialogue fructueux et intensif avec l'homme et la culture. L‘art était l'instrument privilégié de proposer un diagnostic et une nouvelle façon de voir la société contemporaine. À travers le film il a imaginé la possibilité d'une reprise de forces éthico-esthétique-politiques perdus sous les décombres de la civilisation occidentale. L'établissement d'une nouvelle relation avec l'image, le sujet de la (post-) modernité pourrait sauver une puissance esthétique du corps et de la pensée que, réinterprété, agiraient envers eux-mêmes et le monde à réinventer.

Para um cinema da crueldade em Antonin Artaud

Antonin Artaud (1896-1948) est un poète, acteur, dramaturge et écrivain français né à Marseille, mais dont la vie artistique se développe principalement à Paris. Artaud est l'auteur de la notion bien connue de Théâtre de cruauté, qui inspire encore aujourd'hui de nombreux groupes de théâtre dans différents coins du monde. Il a écrit sur le théâtre, la poésie, l'art, la philosophie, entre autres. De 1924-1935 est également dédié au cinéma, à la fois dans son théorique et pratique. Une étape un peu inconnu et peu exploré dans sa vie. Elle a joué dans 22 films avec certains des réalisateurs les plus importants dans le monde, et a laissé huit scénarios, dont un seul a été realizé, et huit écrits théoriques sur le cinéma. Cette thèse cherche à examiner précisément cette période insuffisamment étudié dans sa carrière, à partir de trois questions initiales: Artaud développé un sens de la cruauté au-delà du théâtre? Nous pouvons penser à la culture de la cruauté envers les films, en d‘autres termes, un cinéma de la cruauté ? Nous pouvons penser sur le sujet contemporain de cette culture? La réponse à ces trois questions est oui. L'idée de la pensée de la cruauté au cinéma est intervenue concomitamment à leurs expériences et élaborations de ce qu'il a appelé Théâtre de la cruauté. Les deux réflexions sont donnés concomitamment et de manière récursive. Plus que cela, toutes ses productions artistiques, dont la poésie et la peinture, ont été traversés par la notion de cruauté. Nous concluons que leurs élaborations sur un cinéma de la cruauté a eté interrompu au moment même que le développement technique a souligné la possibilité de sa réalisation. De plus, à l'enquête de son travail, nous pouvons voir que presque toute sa pensée a été préparé sous les images, de sorte que nous pouvons même parler d'une pensée cinématographique d‘Antonin Artaud. En conséquence, nous ne concevons pas sa théorie au septième art comme secondaire à leurs intérêts, comme le rapporte la plupart de ses commentateurs, mais absolument essentiel dans le développement de ses écrits, qui jusqu'à maintenant accumulé plus de deux mille pages. En outre, Artaud ne pense pas l'art pour l'art, mais seulement comme un dialogue fructueux et intensif avec l'homme et la culture. L‘art était l'instrument privilégié de proposer un diagnostic et une nouvelle façon de voir la société contemporaine. À travers le film il a imaginé la possibilité d'une reprise de forces éthico-esthétique-politiques perdus sous les décombres de la civilisation occidentale. L'établissement d'une nouvelle relation avec l'image, le sujet de la (post-) modernité pourrait sauver une puissance esthétique du corps et de la pensée que, réinterprété, agiraient envers eux-mêmes et le monde à réinventer.

Paulo Emílio Salles Gomes e a eficácia discursiva de sua intepretação histórica: reflexões sobre história e historiografia do cinema brasileiro

We intend with this research to contribute to the contemporary debate pertinent to the history of Brazilian cinema, its historiography and its writing procedures. Thereunto, we sustain the view that the historical interpretation composed by the essays Panorama do Cinema Brasileiro: 1896/1966 (1966) and Cinema: trajetória no subdesenvolvimento (1973) arranged by the critic and historian Paulo Emilio Salles Gomes, due to their epistemological postulates and narrative strategies, constitutes a version about the history of national cinema of expressive discursive efficacy.

Eficácia política de uma crítica: Paulo Emílio Salles Gomes e a constituição de uma teia interpretativa da história do cinema brasileiro

This work aims to contribute to theoretical and methodological analysis of writing the history of Brazilian cinema. The object of this study the trilogy of articles in Cinema: the trajectory of underdevelopment regimented, the critic and historian Paulo Emílio Salles Gomes, seeks to understand the process of setting up a web interpretative history of our film based on this work and how to rescue its historicity.

História, literatura e cinema: um debate sobre a historicidade das imagens dos piratas e da pirataria

We seek, through this work, to understand the construction of the pirates’ images from the Golden Age of Piracy (late seventeenth through early eighteenth century) through the observation of the circulation of these images, which are not limited to one field of knowledge. We take into account the importance of the book “A General History of the robberies and murders of the most notorious pirates...” written by Charles Johnson for these constructions, not only literary, but also historiographical provided that the stories of pirates and piracy gained ground in historiography from the twentieth century on. We also seek to show that this historiographical space arises opposed to an apparent historiographical silence about these stories that lasts for about two centuries, related to a new way of writing history in the aesthetic regime, where it arises as a science through a poetics of knowledge, of which the philosopher Jacques Rancière helps us reflect. Lastly, reflecting upon how these images of pirates circulate nowadays, we seek to understand the historicity of the pirates’ images within that aesthetic regime based on some scenes of the film series Pirates of the Caribbean by Disney™.

JORNALISMO DIVERSIONAL: função, contornos e práticas na imprensa brasileira

Há, dentre os gêneros jornalísticos, especialmente os praticados na imprensa brasileira, um agrupamento a que José Marques de Melo atribui o nome de “jornalismo diversional”. Diferenciado por sua finalidade afeita à diversão e por abranger matérias reveladoras de histórias interessantes, a estrutura de seus formatos assimila elementos da literatura e da antropologia. Mas que motivações levam repórteres a desenvolver tal gênero e em quais circunstâncias? Quais métodos são adotados para sua feitura? Que forças agem aí? O estudo apresentado nesta tese buscou compreender como se dá esse processo, observando e comparando os modos de fazer adotados por nove jornalistas brasileiros, escolhidos por se submeterem a dois critérios inter-relacionados: 1) serem reconhecidos pelo meio jornalístico e/ou pelo mercado editorial como figuras que se destacam nesse exercício; e 2) terem produzido textos – com as características mencionadas – para jornais e/ou revistas e que, posteriormente, foram compilados em livro. A metodologia empregada tem vínculo estreito com a perspectiva teórica do newsmaking, valendo-se da técnica apropriada para uma observação que considera diferentes momentos da história (década de 1950 para cá): a entrevista, no seu tipo semiestruturado. O quadro de jornalistas entrevistados é formado por Audálio Dantas, Carlos Wagner, Consuelo Dieguez, Daniela Pinheiro, Eliane Brum, João Moreira Salles, José Hamilton Ribeiro, Ricardo Kotscho e Zuenir Ventura. Como resultado, defendemos que o gênero aqui posto como tema de pesquisa é cultivado por um seleto grupo de profissionais, capazes de direcionar olhares sensíveis sobre a realidade, para dela extrair detalhes e enredos que toquem nos sentimentos dos leitores, divertindo-os, ao propiciar gratificação estética, em contraponto à alienação que se costuma presumir. Trata-se de produção dependente de criatividade e curiosidade, de talento para redigir textos agradáveis e de métodos de apuração e de escrita altamente subjetivos, mas que aparecem como questão bem resolvida no agir profissional desses sujeitos. Essa capacidade também é que os possibilita conquistar espaço, em meio a embates com editores e diretores de redação, para elaborar matérias em que a autoria se sobressai. Por fim, a função de divertir, atribuída ao gênero, é confirmada pelos profissionais, ainda que de modo implícito

HIPERLOCAL, DADOS E APLICATIVOS: inovações no fazer jornalismo e comunicação

A evolução tecnológica na comunicação contemporânea estrutura sistemas digitais via redes de computadores conectados e exploração maciça de dispositivos tecnológicos. Os dados digitais captados e distribuídos via aplicativos instalados em smartphones criam ambiente dinâmico comunicacional. O Jornalismo e a Comunicação tentam se adaptar ao novo ecossistema informacional impetrado pelas constantes inovações tecnológicas que possibilitam a criação de novos ambientes e sistemas para acesso à informação de relevância social. Surgem novas ferramentas para produção e distribuição de conteúdos jornalísticos, produtos baseados em dados e interações inteligentes, algoritmos usados em diversos processos, plataformas hiperlocais e sistemas de narrativas e produção digitais. Nesse contexto, o objetivo da pesquisa foi elaborar uma análise e comparação entre produtos de mídia e tecnologia específicos. Se as novas tecnologias acrescentam atributos às produções e narrativas jornalísticas, seus impactos na prática da atividade e também se há modificação nos processos de produção de informação de relevância social em relação aos processos jornalísticos tradicionais e consolidados. Investiga se o uso de informações insertadas pelos usuários, em tempo real, melhora a qualidade das narrativas emergentes através de dispositivos móveis e se a gamificação ou ludificação altera a percepção de credibilidade do jornalismo. Para que assim seja repensado a forma de se produzir e gerar informação e conhecimento para os públicos que demandam conteúdo

Dancing heroines : sexual respectability in the Hindi cinema of the 1990s

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

An Amorous Prehistory of Hong Kong Queer Cinema

Depiction of homoerotic relationships among women in commercial costumed films was a unique phenomenon in 1970s - 1980s Hong Kong cinema. What are the possible cinematic meanings of lesbian images that we can perceive in these films? How should we evaluate the exact representation of a sexuality that had been perceived as deviant in that society? In this essay, I close-read homoerotic scenes and trace through the trajectories of cultural and industrial changes enabling the emergence of two representative films: Intimate Confessions of A Chinese Courtesan (1972) and An Amorous Woman of Tang Dynasty (1984). I do this with a continuous concern for historical context in order to provide an in-depth understanding of how lesbian images are constructed in cinema.

Dancing heroines : sexual respectability in the Hindi cinema of the 1990s

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

Screening the RSC stage: the 2014 Live from Stratford-upon-Avon cinema broadcasts

During the Royal Shakespeare Company's 2014 summer season, both parts of Henry IV and The Two Gentlemen of Verona were presented as Live from Stratford-upon-Avon broadcasts in cinemas around the world. This article presents a case study of these broadcasts, drawing on the author's observations and insights as their producer as well as interview contributions from those involved in both the stage and screen presentations. Recognising that the hybrid form of “live cinema” performance has developed rapidly over the past five years but is as-yet little-documented, the study develops an analytical approach to its creative processes and to its aesthetics. This discussion is combined with a consideration of the history of earlier screen adaptations of RSC productions at Stratford-upon-Avon. The article details the stages of the production process for the Live from Stratford-upon-Avon broadcasts in 2014 and considers the ways in which the broadcast teams collaborate with the casts and creative teams of the theatre productions. In addition, the article explores processes of adaptation in the journey from stage to screen, the poetics of multi-camera presentation and questions of “live-ness”, the social experience of viewing performance in the cinema, and possible developments for live theatre on screen.