Fortalecimiento empresarial de la Fundación Cine Sinú

El PAP (Proyecto de Aplicación Práctica) propone un plan de fortalecimiento empresarial para la Fundación Cine Sinú, en torno a la creación, el desarrollo y la promoción de proyectos artísticos, educativos y culturales en el área audiovisual, todos ellos encaminados a fortalecer procesos de transformación social en la región Caribe colombiana y las diferentes comunidades del país.

Talk show y audiencia : los procesos de recepción de un género de telerrealidad

V.II: 397 p. y V.II: 273 p.

Brain responses and looking behavior during audiovisual speech integration in infants predict auditory speech comprehension in the second year of life

The use of visual cues during the processing of audiovisual (AV) speech is known to be less efficient in children and adults with language difficulties and difficulties are known to be more prevalent in children from low-income populations. In the present study, we followed an economically diverse group of thirty-seven infants longitudinally from 6–9 months to 14–16 months of age. We used eye-tracking to examine whether individual differences in visual attention during AV processing of speech in 6–9 month old infants, particularly when processing congruent and incongruent auditory and visual speech cues, might be indicative of their later language development. Twenty-two of these 6–9 month old infants also participated in an event-related potential (ERP) AV task within the same experimental session. Language development was then followed-up at the age of 14–16 months, using two measures of language development, the Preschool Language Scale and the Oxford Communicative Development Inventory. The results show that those infants who were less efficient in auditory speech processing at the age of 6–9 months had lower receptive language scores at 14–16 months. A correlational analysis revealed that the pattern of face scanning and ERP responses to audiovisually incongruent stimuli at 6–9 months were both significantly associated with language development at 14–16 months. These findings add to the understanding of individual differences in neural signatures of AV processing and associated looking behavior in infants.

O panorama do audiovisual infantil em Portugal: a problemática da surdez equacionada na concepção de filmes de animação

Dissertação apresentada à Escola Superior de Comunicação Social como parte dos requisitos para obtenção de grau de mestre em Audiovisual e Multimédia.

Anfibios Culturales y Sistemas de Regulación Ley, Moral y Cultura en la producción audiovisual colombiana Estudio de caso: Sin Tetas no hay Paraíso

La Teoría de la Acción Humana desarrollada por Antanas Mockus, parte del principio de que la acción humana es multimotivada y multiregulada. Entre las multiples regulaciones se encuentran los Sistemas de Regulación Social Ley, Moral y Cultura quienes en cierta medida explican el accionar y la interacción social. No obstante dado que la sociedad contemporánea se caracteriza por ubicarse en un contexto intercultural de contactos y fricciones permanentes, entre distintas perspectivas culturales en distintos grados de hibridación, el divorcio entre los sistemas regulatorios parece inevitable. Entendiendo al Espacio Público habermasiano ya no reservado únicamente a los actores institucionales, sino a la sociedad civil y los medios masivos. Es en este nuevo espacio deliberativo donde el Anfibio Cultural se desenvuelve a fin de resolver la problemática del divorcio entre los sistemas regulatorios. El anfibio valiéndose de sus herramientas camaleónicas y traductoras buscará por vías dialógicas la reducción así sea parcial, a mínimos aceptables de discusión e interrelación cultural. La imagen articulada a un mecanismo cultural por un lado reconstruye realidades pero por el otro alimenta el ciclo de producción y aceptación de imaginarios colectivos. De esta manera la presente investigación propone evidenciar los conceptos de Mockus en el desarrollo de una producción audiovisual, así como también realiza un aporte conceptual a la teoría al incluir la Dialéctica del Reconocimiento como una herramienta eficaz a la hora de buscar generar acuerdos. La presente investigación propone evidenciar cómo a partir del análisis de una producción audiovisual se promueven valores, cultural, ideas y costumbres que incentivan tanto el divorcio como la armonización entre los sistemas regulatorios.

Show de Mamulengos Heraldo Lins: construções e transformações de um espetáculo na cultura popular

The theater of puppets is one of the many expressions of popular culture which is marked by ongoing constructions and transformations in its symbolic representations as well as its characters and performances. In the city of Natal/RN, there is a manipulator called Heraldo Lins, an artist who operates such puppets, and has been performing his puppet since 1992. Lins has his own look at how he produces his performances and seeks to adjust his puppets to social and rentable contexts. Lins‟s performances are tailor-made in accordance with the request of his customers, as he makes up the passages and lines of his puppets according to his audience. This research aimed to study how the Heraldo Lins Mamulengos Show is built, especially its changes. We note that Lins chooses to dismantle the symbolic values of the tradition in the regular puppet theater once he adapts to modern patterns, placing himself between the traditional puppet theater and the cultural industry. The work in camp was made through a methodological focused in a participative observation and an audiovisual registry

A mídia dos outros somos nós: a experiência audiovisual do Ponto de Cultura Cinema para Todos

This research aims to identify the process of appropriation of audio visual (in digital video) for collective symbolic production (participatory video practice that expresses popular culture) in a socio-cultural context where the minorities are. Therefore, we based this study on the students‟ experience of the film and video workshops held by Cinema para Todos (Culture Point Cine for All), in Natal, RN. Culture Point is the basis of the project Programa Nacional de Cultura, Educação e Cidadania Cultura Viva (National Program of Culture, Education and Citizenship - Living Culture) of the Brazilian Ministry of Culture. In 2010, the Cine for All developed three film and video workshops in the state of Rio Grande do Norte (Northeastern of Brazil), in the municipalities of Açu, Lajes and São Gonçalo do Amarante, within a public policy project of socio-cultural inclusion. These three workshops are the focus of this empirical investigation. To support the analysis of this research we consider that the spaces of workshops are sites of the social practices origin, assuming they show the development of the changes of actions that generate new practices. In this socio-cultural context the students as interlocutors process the communicative culture mediation, where come from the logics of action (using digital video) to become a mediatic practice (video auto ethnographic). With the overall goal set and the field of investigative action delimited we considered the methodology of case study suitable for the observation of the object, because it is a phenomenon of modernity, occurring in a context of real life and with little or no control over events. Participant observation and interviews was also applied to this case study. The analytical theoretical support comes from the notion of mediation by Jesús Martín-Barbero and the concept of habitus by Pierre Bourdieu. The research found that a new way of communicating has been developing by this social group, and this reflects the technological change experienced by them. The auto ethnographic videos, short movies, reveal an allegorical trial of the mainstream media, because while they use the mainstream format, they rework the aesthetic, but without revising the history, in fact they proposing to retell the history of themselves full of colorful details and with richness of their forgotten popular culture.

Sexualidade(S) em cena: as contribuições do discurso audiovisual para a problematização das diferenças no espaço escolar

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Abordagens do documento audiovisual no campo teórico da arquivologia

Pós-graduação em Ciência da Informação - FFC

Gamificação aplicada à produção de roteiro para audiovisual educativo interativo

Pós-graduação em Televisão Digital: Informação e Conhecimento - FAAC

O Primo Basílio e a relação espaço e tempo no audiovisual

Pós-graduação em Letras - FCLAS

Difusión de contenido obsceno dentro del Horario de Protección al Menor en el Perú: Análisis del reality show Esto es Guerra

En el presente artículo se analiza el contenido que difunde Esto es Guerra, el reality show peruano con alto índice de preferencia en la audiencia infantil durante el 2014, acusado de transmitir escenas con contenido sexual. El objetivo de esta investigación es determinar si existen rastros de material obsceno en este bloque televisivo y si este transgrede el Horario de Protección al Menor, reconocido en el marco legal peruano. Su justificación se enmarca en la escasez de estudios que se han realizado sobre realities en el Perú, los constantes pedidos de la sociedad para que este programa deje de transmitirse y las sanciones que ha recibido de parte de organismos estatales. La metodología empleada se basa en un análisis de contenido de la séptima temporada de Esto es Guerra, en el que se tendrán en cuenta los mensajes que transmiten los conductores y participantes a través de su comportamiento. La investigación determinó que el reality show de competencia presenta segmentos que podrían ser considerados como obscenos, aunque su duración es muy limitada y no representativa en relación a todo el programa.

Show de Mamulengos de Heraldo Lins: construções e transformações de um espetáculo na cultura popular

The theater of puppets is one of the many expressions of popular culture which is marked by ongoing constructions and transformations in its symbolic representations as well as its characters and performances. In the city of Natal/RN, there is a manipulator called Heraldo Lins, an artist who operates such puppets, and has been performing his puppet since 1992. Lins has his own look at how he produces his performances and seeks to adjust his puppets to social and rentable contexts. Lins‟s performances are tailor-made in accordance with the request of his customers, as he makes up the passages and lines of his puppets according to his audience. This research aimed to study how the Heraldo Lins Mamulengos Show is built, especially its changes. We note that Lins chooses to dismantle the symbolic values of the tradition in the regular puppet theater once he adapts to modern patterns, placing himself between the traditional puppet theater and the cultural industry. The work in camp was made through a methodological focused in a participative observation and an audiovisual registry

Colloquial Finnish in Subtitles – a Survey on the British Situation Comedy Peep Show

The use of dialects in audiovisual texts is increasing, but the use of standard language in Finnish subtitles is still the prevalent norm and seldom flouted. This may not be in the best interest of the audience as the way the characters speak – their idiolects – is very important for the atmosphere of the audiovisual text and widely used to give the characters personalities and background. This thesis studies whether the viewing experience could be enhanced by taking the characters’ idiolects into account in subtitling. The study was executed as a survey, and the respondents were recruited from social media and an university of applied sciences. A total of 113 respondents were divided into two groups: the experimental group (n=59) and the control group (n=54). Both groups were shown an excerpt of the British situation comedy Peep Show, but with different subtitles. In the experimental subtitles, three characters were given a written idiolect with a level of colloquial language corresponding to the spoken idiolect of the character, while the control subtitles followed the norm of using standard language. The questionnaire contained background questions, a Likert-scale question and open questions. The quantitative responses were analysed statistically through cross tabulation and Mann–Whitney U test or Kruskal-Wallis test (CI=95%, α=0,05). The results showed a statistically significant difference in keeping track on which of the characters was speaking for the benefit of the experimental subtitles. In the other items no statistically significant difference was found between the groups. In the open questions the use of colloquial language was mostly commented favourably.

El uso de la documentación audiovisual en los programas informativos diarios de televisión

[SPA] El objetivo de la investigación es conocer cual es la aportación cuantitativa y cualitativa de la documentación audiovisual en la información que ofrece diariamente la televisión. El marco temporal de la investigación de campo se sitúa en los años 1993 y 1994, en un marco geográfico constituido por los canales que emiten en el estado español. El estudio parte de una aproximación teórica a la documentación periodística, a la documentación audiovisual y a los estudios sobre la comunicación de masas, y lleva a cabo una investigación de campo en tres áreas: 1) Análisis de programas informativos diarios de seis cadenas de televisión (ETB, TVE, Canal Sur, TV3, Antena 3 y Canal+), a través de tres muestras independientes. 2) Análisis de las peticiones de documentación audiovisual realizadas desde las redacciones de programas informativos a los servicios de documentación. 3) Estudio de las funciones, tareas, estructura y organización de los servicios de documentación de televisión, basado en encuestas, visitas y entrevistas. En anexo se ofrece el análisis detallado de 620 noticias, así como la información de los centros de documentación. La investigación concluye afirmando que la documentación audiovisual es uno de los elementos constitutivos de la información de actualidad, tanto por su presencia cuantitativa (más de un 40% de las noticias emitidas la emplean), como por su aportación cualitativa y su utilización generalizada en todas las secciones informativas. Las conclusiones señalan que la importancia de las noticias incide positivamente en el empleo de documentación audiovisual, sintetizan las funciones de esta documentación y las características específicas de su uso. Confirman el carácter de retroalimentación de la documentación informativa en televisión. Señalan un empleo de esta documentación como documentación puramente visual. Y afirman que la documentación audiovisual, además de contribuir en la producción, coadyuva a la calidad de los programas informativos, en la medida en que facilita la tarea de ofrecer una información más completa y contextualizada.