Comunicação e Territorialidades

URI Permanente desta comunidade

http://repositorio.ufes.br/handle/10/17459

Programa de Pós-Graduação em Comunicação e Territorialidades

Centro: CA
Telefone: (27) 4009 2024
URL do programa: http://www.comunicacaosocial.ufes.br/pos-graduacao/POSCOM/

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Agora exibindo 1 - 20 de 22

A gentrificação do queer na territorialidade digital: dispositivos tecnopolíticos no aplicativo Grindr
(Universidade Federal do Espírito Santo, 2021-08-19) Mozer, Thiago Scarpat; Alves, Gabriela Santos; https://orcid.org/0000-0001-5243-7499; http://lattes.cnpq.br/5801228543473679; https://orcid.org/0000-0003-0784-7901; http://lattes.cnpq.br/2302296727967545; Vieira Junior, Erly Milton; https://orcid.org/0000-0001-8942-8975; http://lattes.cnpq.br/5304948146950132; Fonseca, João Barreto da; https://orcid.org/0000-0003-0425-7666; http://lattes.cnpq.br/6852205144159820
In the last century, gentrification is a process of urban requalification that affects neighborhoods, cities and/or regions in order to change the composition of the place, especially with new real estate developments and commercial outlets, so that previously popular areas become noble. However, epistemological changes have interested us in studying less the physicality of this phenomenon and more its symbolic effects and strategies of exclusion. With this in mind, the object of this research is Grindr, a dating app for gay, bisexual and transgender people, in order to think about how the notion of gentrification performs in cyberspace. To this end, this research proposes the notion of queer gentrification, a diagram that makes use of technopolitical devices that endorse practices of territorial surveillance in order to gentrify the sociabilities and dissident subjects of the digital environment of that app. As such, it is based on a theoretical framework that draws on authors such as José Silvério Trevisan and Paul B. Preciado to think about the notion of queer; Eve Sedgwick, to understand the epistemology of the closet; Foucault and Deleuze to elaborate the notions of surveillance, control, diagram and device; Fernanda Bruno and David Lyon to discuss technopolitics; Benjamin Loveluck to think about cyberspace; Marie Chabrol and Sarah Schulman to explain gentrification; and Haesbaert and Raffestin to discuss the territory-territoriality binomial. Therefore, this qualitative research uses genealogy as a methodology, whose corpus of analysis is mainly made up of screenshots of Grindr user profiles. From the analyses carried out, it can be concluded that gentrification, when it enters digital territoriality, acts as a regime of exclusion and oppression whose devices are intertwined and form a diagram that controls users; that the gentrification of queer displaces the dissident experience by an asymmetrical volume of surveillance that normalizes queer brands in this app; and that the interaction of technopolitical devices causes compulsive invisibility, remaking of subjectivities, negotiation of privacy and reprogramming of a certain mode of intimacy.
A morte na territorialidade digital : espetáculo, consumo e gestão do medo nas redes sociais
(Universidade Federal do Espírito Santo, 2017-05-26) Sangalli, Heryck Luiz Jacob; Martinuzzo, José Antonio; https://orcid.org/0000000204998512; Alves, Gabriela Santos; Ribeiro, Renata de Rezende
The present research is aimed to investigate approaches concerning death on the digital social network Facebook. The hypotheses to analyze the theme consider that death is related to spectacle, consumption and management of fear. The production of content regarded to this perspective is only made possible by means of the current media-based society in which digital social networks prospered because it provided tools for the development of locus. Thus, our empirical object of analysis is Jogos Mortais +18 and Faca na Caveira, two Brazilian pages in which contents referring to the death are posted. The study is divided into three parts that build the theoretical framework by means of a bibliographical review: death, media-based society and social networks on the Internet as a source of new territorialities; and spectacle, consumption and fear, as mentioned above. Next, ethnographic observation and content analysis as a methodology are applied. In order to understand how death is experienced in the wide day-to-day of Facebook, a survey aimed at users was conducted. In this manner, it is concluded that death is actually connected to spectacle, information consumption, and management of fear, appropriated by specific individuals to manage control. In addition, we have confirmed that death is part of Facebook's daily living and sociability, and also consumed by users who are not included in pages that publish such subject
A multiterritorialidade da desinformação: um estudo de caso sobre a rede nacional de combate à desinformação
(Universidade Federal do Espírito Santo, 2023-12-14) Silva, Elisa Lacerda; Reboucas, Jose Edgard; https://orcid.org/0000000311025396; http://lattes.cnpq.br/2062758351699124; https://orcid.org/0009-0009-4242-581X; http://lattes.cnpq.br/6978785555869824; Temer, Ana Carolina Rocha Pessoa; Alves, Gabriela Santos; http://lattes.cnpq.br/5801228543473679; Henriques, Rafael da Silva Paes; https://orcid.org/0000000218125886; http://lattes.cnpq.br/4260742302003843
This study closely examines the performance of the National Network to Combat Disinformation (RNCD) in the context of the 2022 Brazilian elections, a time when the increasing use of digital technologies has significantly expanded the reach of political advertisements. This phenomenon, however, also resulted in the spread of intentionally false information, used as a political communication strategy. Faced with this scenario, several entities, including public authorities, communication specialists and various sectors of civil society, responded to threats to information integrity, with the RNCD being one of these initiatives. The present work, through a bibliographical review, deepens the discussion on the intentionality behind disinformation and its use as a tactic to influence political communication and maintain power and oppression. The networked approach adopted by RNCD in the fight against disinformation highlights the unprecedented dimension that this phenomenon takes on with the rise of the internet. The study analyzes digital transformations, focusing on the large-scale production of information, its multi-territorial nature and the consequences resulting from this context. The specific case study about RNCD is presented at the end of the work, based on data obtained from the network's website, observation of the group on Whatsapp and semi-structured interviews with its founder and one of the partners. The results highlight the paradigm shift by forming a network with more than 177 partners from different areas of knowledge, the network analysis of this articulation, the survey of their activities during the 2022 elections and the debate around PL2630. These elements highlight the positive impacts and contributions of RNCD in the battle against disinformation.
Amor de mãe: perspectivas contemporâneas da representatividade da mulher negra na telenovela brasileira
(Universidade Federal do Espírito Santo, 2022-08-16) Santos, Matheus Effgen; Alves, Gabriela Santos; https://orcid.org/0000-0001-5243-7499; http://lattes.cnpq.br/5801228543473679; Ribeiro, Ana Paula Goulart; Vieira Junior, Erly Milton; http://lattes.cnpq.br/5304948146950132
The research takes as its object the telenovela Amor de Mãe (2019/2021), aired by TV Globo, and focuses on the characters Camila dos Santos Silva (Jéssica Ellen) and Vitória Amorim (Taís Araújo). The general objective is to understand how these characters, which are some of the main characters of the story, are inserted in the plot and, therefore, show the representativeness of black women in the contemporary brazilian telenovela. To reflect on the theme are used the works of authors like hooks (2019), Gonzalez (2010) and Collins (2019), which reflect the position occupied by the black woman in society and on the imaginary that validates her domination. Regarding the role of the telenovela in maintaining this representativeness, works such as those of Araújo (2004) and Lopes (2003) are triggered. As a method, a content analysis focused on the visual and verbal spheres is used, through which it is sought to understand how the dramaturgical events of the plot show ruptures and advances according to the historical perspective of the insertion of the black woman in the Brazilian telenovela. The analysis indicates a shifting movement between the directions of representativeness pointed out in the telenovela. Although it seems to want to confront stereotypes, the work still activates them to shape the insertion of these characters in the plot and, therefore, cannot transpose them in a definitive way
Análise crítica de pornografias feministas: diálogos com os feminismos e ressignificações da sexualidade
(Universidade Federal do Espírito Santo, 2022-02-24) Fernandes, Liliana Rocha; Vieira Junior, Erly Milton; https://orcid.org/0000-0001-8942-8975; http://lattes.cnpq.br/5304948146950132; https://orcid.org/0000-0002-1174-3710; http://lattes.cnpq.br/0913335006889614; Alves, Gabriela Santos; https://orcid.org/0000-0001-5243-7499; http://lattes.cnpq.br/5801228543473679; Rangel, Lívia de Azevedo Silveira; https://orcid.org/0000-0002-8067-1562; http://lattes.cnpq.br/7048343105691568
Pornography and Feminism were in opposition for a long time, and, even today, this relationship ignites heated debates. Anti-pornography feminism has its roots in the theoretical discussion held especially in the United States of America in the 1970s and 1980s, called the Feminist Sex Wars. Broadly speaking, this movement advocated the censorship of pornographic materials, on the grounds that pornography promoted violence against women. Pro-sex feminists, on the other hand, fought for sexual emancipation, along with all the oppression experienced by women in relation to their sexuality. The present research analyzes the pornographic production called feminist, contextualizing it with the aforementioned debate, based on the feminist theoretical framework and authors of porn studies. One of the main points defended by the directors who propose to produce feminist and dissident pornography is to break with the sexist discourses that prevail in mainstream pornography, producing new ways of demonstrating sex, from a perspective that also privileges female pleasure. Considering this assumption, three specific films are analyzed: Gender Bender (2018, Erika Lust), Skin (2009, Elin Magnusson) and Landlocked (2018, Lívia Cheibub). Using narrative conventions of traditional pornography as categories of comparative analysis of sexual performances, we seek to identify the resignifications or de-territorializations of discourses on sexuality and pleasure in the analyzed films.
Arreda homem que aí vem mulher: corpo em encruzilhada de gêneros nas performances ancestrais das pombagiras
(Universidade Federal do Espírito Santo, 2022-08-17) Gomes, Maurilio Mendonça de Avellar; Vieira Junior, Erly Milton; https://orcid.org/0000-0001-8942-8975; http://lattes.cnpq.br/5304948146950132; Alves, Gabriela Santos; http://lattes.cnpq.br/5801228543473679; Coelho, Tamires Ferreira
This research starts from the study of the communication of the body when incorporated by ancestral entities that present themselves in the giras of Umbanda. A body that is territorialized, deterritorialized and reterritorialized at each manifestation, being media so that each entity can communicate. Based on a field research, associated with eight semistructured open interviews, done with men who are umbandistas and carried out during the months of March and May 2022, this dissertation seeks to identify and analyze the communication of the entity pombagira when incorporated into male bodies, during the ancestral performance, for being the entity pointed out by the interviewees as the one that would bring a greater number of elements classified by them as being feminine. But before that, we heard from the interviewees how they perceive and identify the presence of other entities, which helped to find what is stored or registered in them and by them after different incorporation experiences, through a dialogic, sensorial, and sensitive communication. As not everyone maintains this relationship with the pombagira, the study also points out some of the reasons that hinder or make difficult the communication of this entity in part of the interviewees, considering both their experience and what they bring of knowledge about what it is to be masculine and feminine in our society. This dissertation is based on a look at Ancestry (OLIVEIRA), Communication (DRAVET; SODRÉ) and the Body, discussing the body in performance (MARTINS); as territory (MIRANDA) and as a crossroads (RAMOS), approaching the paths indicated both by bibliographic references and by the reports of the research participants. The study also dialogues with the sensitive (LE BRETON), with gender issues (LAURETIS; NASCIMENTO; OYĚWÙMÍ), and with Exu, the messenger of the Orixás, the one who dominates communication. It is Exu who guides us along the way, regurgitating the necessary transformation to cleanse the colonial burden (RUFINO) that still surrounds us and drive away once and for all the evil eye that the patriarchy insists on keeping
Atlantique: amor como política, espiritualidade anticolonial e suas cartografias afetivas
(Universidade Federal do Espírito Santo, 2023-08-25) Ghil, Roger Gomes; Alves, Gabriela Santos; http://lattes.cnpq.br/5801228543473679; https://orcid.org/0000000276997981; http://lattes.cnpq.br/1093241483346484; Ferreira, Sergio Rodrigo da Silva
A partir da obra cinematográfica de longa-metragem Atlantique (Mati Diop; Bélgica, França e Senegal; 2019), analisada sob a ótica da corrente filosófica Oxunismo (AKOTIRENE, 2019), investigaremos como são criados espaços perecíveis de liberdade (BRASILEIRO, 2022) no contexto colonial necropolítico e epistemicida (MBEMBE, 2018) através de uma política de intimidade interespecífica que desenvolve a presença de um “olhar opositor” (HOOKS, 2019), o acesso à memória (FERREIRA DA SILVA, 2019) e à ancestralidade (lembrança), e agenciam uma performance anticolonial feminina que reivindica, estetiza, gesta e concebe novos territórios (cartográficos e afetivos) diaspóricos e ecológicos (GRIJALVA, 2020). Apontamos que pensar o território a partir do corpo negro é entender que este corpo - devido a sequestros e diásporas – assume o papel de abrigo da ancestralidade que, ao ser acessada pelos processos de intimidade (SOMÉ, 2007) com essas espiritualidades anticoloniais aponta a forja de uma nova história. Propomos, ainda, a primordial função das mulheres negras e das práticas amorosas como gestos de cura (HOOKS, 2020), no movimento de manutenção da memória dentro dos processos migratórios. A partir de uma epistemologia e metodologia livre e despossuída (HARVEY, 2014), torna-se fundamento teórico a vida cotidiana, o que possibilita a aproximação com a diretora da obra (FREITAS, 2021) e a incorporação espelhada de uma cartografia afetiva que nos transborda em cinema.
Cinema, mulheres e direito à cidade: O (não) pertenciamento ao território
(Universidade Federal do Espírito Santo, 2023-12-18) Gomes, Karolyne Mendes; Alves, Gabriela Santos; http://lattes.cnpq.br/5801228543473679; https://orcid.org/0009-0006-9950-5018; http://lattes.cnpq.br/4553538294366397; Campos, Ana Claudia Borges; Silva, Maria Lucia da
This dissertation analyzes the technical, aesthetic and resignification strategies of female action in the urban spaces of cities in recent productions of contemporary Brazilian documentary cinema. In this scenario, the film analysis of three documentaries is initially of interest: at the national level, Chega de Fiu Fiu (2018), by Amanda Kamanchek Lemos and Fernanda Frazão and Afeto (2019) by Gabriela Gaia Meirelles and Tainá Medina, and Riscadas (2019) , by Karol Mendes , in the local clipping. The films deal with the right to the city and the experiences of female bodies in public spaces, using different aesthetic resources and promoting debate on the topic. It is based on the theoretical framework composed of reflections on Brazilian documentary cinema, the right to the city and contemporary feminist theory, especially the issue of harassment in the studies of Joice Berth and Djamila Ribeiro. Under a race perspective, it also addresses reflection on the plurality of the feminist movement, based on studies by bell hooks and Audre Lorde, taking into account the narrative construction of each work. Based on a bibliographical review and film analysis, the aim is also to expose the action of cinema as a narrative potential for the debate on gender issues.
Drag: corpo, mídia e afeto
(Universidade Federal do Espírito Santo, 2019-03-01) Fonseca, Lucas Braganca da; Vieira Junior, Erly Milton ; https://orcid.org/0000-0001-8942-8975; http://lattes.cnpq.br/5304948146950132; https://orcid.org/0000-0001-9627-5049; http://lattes.cnpq.br/8995310793134215; Sousa, Ramayana Lira de; https://orcid.org/0000-0002-3306-4540; http://lattes.cnpq.br/6350618099589876; Alves, Gabriela Santos; https://orcid.org/0000-0001-5243-7499; http://lattes.cnpq.br/5801228543473679
The drag culture is configured today as a mediatized phenomenon. This new cultural moment differs drastically from the less valued view of these performances that had been in place since the mid-1990s. With this in mind, this work was developed aiming to understand this new national scene, starting from the understanding of the drag body as a communicational platform. To this end, a historical survey on the development of drag culture focusing on the specificities of Brazilian culture and media was conducted. The study found that the presence of drag visuality in the most varied media platforms affected part of the viewers who began to experience the sensorialities and corporealities of drag performance in their own bodies. The post-RuPaul’s Drag Race insurgent scene, one of the main catalysts for this restructuring, however, has redesigned drag culture, creating specificities that distinguish contemporary drag from its historical peers.
Fotografias e territorialidades : memórias e resistências sobre a comunidade de Monteiro/São Martinho
(Universidade Federal do Espírito Santo, 2018-08-20) Simões, Elizabeth Nader; Alves, Gabriela Santos; Rossoni, Rodrigo; Martinuzzo, José Antonio
This work analyzes photography as a source of documentations that perpetuate moments, witness individual and collective routine, feed and produce memories and serve as a resistance to forgetfulness and silence. Based on the photo documentary - developed by this researcher - held in two distinct moments of the 34 families of the Monteiro - São Martinho community (municipality of Anchieta, south coast of the State of Espírito Santo, Brazil) during their process of territorial changing, caused by the Vale S/A's intention of building Companhia Siderurgica Ubu (CSU) in the area. The first moment, made in the period between 2012 and 2014, records the daily life of the residents before the process of deterritorialization of the neighborhood Monteiro; the second moment, from 2016, monitors the reterritorialization process of the families in a new residential complex (built by the mining company Vale S/A specially for them, in the São Martinho district), regarding what has changed, what has remained and what no longer exists in the quotidian activities of the residents. It is intended to create an analysis on the practical actions during a process of deterritorialization / reterritorialization of the community, in these different moments, by the perspective of photography / visual documentation. The images are understood here as tools for understanding the complexity of this whole process of territorial entanglements between institutional formalities and everyday creations.
Imagens da solidão melancólica nos Filmes de Sofia Coppola
(Universidade Federal do Espírito Santo, 2021-06-30) Rosemberg, Iza Marcialina Meireles; Vieira Junior, Erly Milton; https://orcid.org/0000-0001-8942-8975; http://lattes.cnpq.br/5304948146950132; https://orcid.org/0000-0001-5786-2224; http://lattes.cnpq.br/4268394444948067; Alves, Gabriela Santos; https://orcid.org/0000-0001-5243-7499; http://lattes.cnpq.br/5801228543473679; Fonseca, João Barreto da; https://orcid.org/0000-0003-0425-7666; http://lattes.cnpq.br/6852205144159820
Esta pesquisa consiste no estudo sistemático dos seis longas-metragens dirigidos por Sofia Coppola: As virgens suicidas (The virgin suicides, 1999), Encontros e desencontros (Lost in translation, 2003), Maria Antonieta (Maria Antoniette, 2006), Um lugar qualquer (Somewhere – 2010), Bling Ring - A Gangue de Hollywood (The Bling Ring – 2013) e O estranho que nós amamos (The Beguiled – 2017). A pesquisa apresenta o conceito de solidão, nos termos de sua complexidade, como um fenômeno humano; solidão melancólica como traço comum às personagens das obras analisadas, assim como o cotidiano tão marcante nos filmes; contempla as nuances da solidão na obra da diretora; contextualiza o papel desempenhado pela mulher no âmbito do cinema; e a analisa as estruturas de imagem e som como um todo, a partir da seleção de cenas específicas que se traduzem como emblemáticas para a análise da correlação entre cinema e solidão melancólica na obra da cineasta.
Marcas de uma escrita de si no cinema de Lucia Murat
(Universidade Federal do Espírito Santo, 2019-04-16) Nascimento, Ursula Dart Bottrel do; Alves, Gabriela Santos; Vieira Junior, Erly Milton; Veiga, Roberta Oliveira
Marcas narrativas da cultura do estupro no ciberespaço - análise da misoginia contra Dilma Rousseff
(Universidade Federal do Espírito Santo, 2018-03-13) Vieira, Pâmela Rocha; Alves, Gabriela Santos; Ribeiro, Renata Rezende; Martinuzzo, José Antonio
This dissertation investigates the narrative marks of the rape culture against the first woman to occupy the position of the presidency of Brazil, Dilma Rousseff. The cyberterritory space, with an emphasis on Social Networking on the Internet, is ou focus in the search for understanding symbolic manifestations of violence against women, especially when these women occupy spaces of power and challenge the gender stereotype, suffering retaliation related to the concept of rape culture.
Mídias feministas e o #ELENÃO: movimento social de mulheres e as eleições de 2018
(Universidade Federal do Espírito Santo, 2021-08-27) Menegusso, Alena Moreira; Alves, Gabriela Santos; https://orcid.org/0000-0001-5243-7499; http://lattes.cnpq.br/5801228543473679; https://orcid.org/0000-0003-4879-2660; http://lattes.cnpq.br/9935952085020247; Rangel, Lívia de Azevedo Silveira; https://orcid.org/0000-0002-8067-1562; http://lattes.cnpq.br/7048343105691568; Reis, Ruth de Cássia dos; https://orcid.org/0000-0003-3571-3580; http://lattes.cnpq.br/2483123134241477
In this dissertation, we analyze the narratives of feminist media fanpages inserted in the #Ele Não movement, which emerged on the networks during the 2018 presidential race, in rejection of the PSL candidate, Jair Messias Boslonaro. In the last decade, feminist women's collectives have established a strong presence on the Internet, bringing people together and, consequently, rekindling the debate around issues of gender, sexuality and human rights in Brazil. This group of women has used Communication as a political weapon, producing and disseminating diverse content, intersecting gender, race and class oppression. In this way, they act as engaged activists and great sharers of knowledge, who, in a context of political crisis, occupied public space both online, flooding social networks with heated discussions, photos and events; and offline, on the various streets and avenues of the country and in cities abroad. During this period, feminist media collectives were very engaged in trying to bar the candidate, producing scathing criticisms in their profiles and participating in the coverage of the demonstrations. In this research, we outline the performance and narratives of the collectives "Catarinas", "Feminism without Deamgogia", "Feminist Archives" and "Feminist Bloggers" about #Ele Não, during the period from September to November 2018, using Content Analysis to understand similarities and disparities between the approaches between them. We conclude that, in this context, feminist media had an action aimed at inciting debate and less in terms of content production, however, they made important criticisms and sought dialogue with other women, placing them at the heart of this electoral process. In short, Portal Catarinas acted in a more journalistic way during the #EleNão movement, following the protests in several cities. “Feminism Without Demagoguery”, as well as other Latin American feminisms, brought to the fore the debate on Violence against women, which is embedded in what is conventionally called the culture of rape. “Arquivos Feministas” wove criticism with an approach focused on humor and irony. Lastly, the “Feminist Bloggers” took an incisive position, unraveling Jair Bolsonaro's performance and his preparation in longer and more in-depth texts.
MULHERES QUE RIMAM: NARRATIVAS DO MELANINA MC’S COMO INSTRUMENTO DE RETERRITORIALIZAÇÃO
(Universidade Federal do Espírito Santo, 2020-05-25) Sampaio, Carolina Ofranti; Vermes, Viviana Monica; https://orcid.org/; http://lattes.cnpq.br/3806495173897941; https://orcid.org/; http://lattes.cnpq.br/; Nascimento, Jorge Luiz do; https://orcid.org/; http://lattes.cnpq.br/5314773566668629; Alves, Gabriela Santos; https://orcid.org/; http://lattes.cnpq.br/5801228543473679
This thesis analyzes the female reterritorializations in the Espírito Santo s rap, having as object of study the first and only album of the group Melanina MC s: Female System. Representing one of the elements of the Hip Hop Movement, which has emerged as
No território do passinho : transculturalidade e ressignificação dos corpos que dançam nos espaços periféricos
(Universidade Federal do Espírito Santo, 2017-07-19) Nascimento, Luna Maria Pacheco do; Vieira Junior, Erly Milton; Alves, Gabriela Santos; Gonçalves, Rôssi Alves
Has as its research object Passinho, a way of dancing funk from favelas in Rio de Janeiro, which, in recent years, has become a movement of great prominence in the Brazilian cultural scene. It uses multidisciplinary studies that helps to understand the phenomenon and its social, cultural and media implications, in order to construct a bibliographic path that supports the territorialisation of the movement from the bodies of the dancers, also crossing the urban shanty towns of Rio de Janeiro and the media environment. The methodology used was bibliographic research (GIL, 2002) and the binding level (SODRÉ, 2014). The general themes addressed throughout the text are some questions about the dance body applicable to the research object, the cultural environment that gave rise to the phenomenon, the description of the research object, as well as its historical place in the context of the funk movement Carioca, as considerations about the media dimension around the Passinho
O cinema como território do armário: cidade, corpo e representações contemporâneas
(Universidade Federal do Espírito Santo, 2021-07-29) Bousada, Tadeu Barbuto; Vieira Junior, Erly Milton; https://orcid.org/0000-0001-8942-8975; http://lattes.cnpq.br/5304948146950132; https://orcid.org/0000-0003-0676-9219; http://lattes.cnpq.br/8114253378061182; Alves, Gabriela Santos; https://orcid.org/0000-0001-5243-7499; http://lattes.cnpq.br/5801228543473679; Freire, Mariana Baltar; https://orcid.org/0000-0002-2314-2015; http://lattes.cnpq.br/6373795601350092
This research discusses the relationships between cinema and the closet, having as object of analysis, three contemporaryBrazilian films: Tattoo (Tatuagem, 2013, Hilton Lacerda), Futuro Beach (Praia do Futuro, 2014, Karim Aïnouz) and The Way He Looks (Hoje Eu Quero Voltar Sozinho, 2014, Daniel Ribeiro). First, understanding cinema as a dark room, we condition its territory together with other spaces that were part of the sexual organization between men in Brazilian cities. Also in this section, we contextualize the national Queer cinema, addressing its presence in the periods of Chanchada, Pornochanchada and Retomada, pointing out the growing wave of films about “coming out”, as a gay identity was consolidated in the reflection of HIV/AIDS pandemic. Subsequently, we explain concepts linked to Queer, Feminist epistemologies and phenomenologies and Cultural Studies of Masculinities, such as Men's House (WELZER-LANG, 2001), Disorientation (AHMED, 2006), Compulsory Heterosexuality (RICH, 2010), Disidentification (MUÑOZ, 1999) and Heteronormativity (Michael WARNER, 1991), which approach social practices linked to the experience of the body in the closet. Furthermore, these concepts served as analytical categories, where it was possible to identify compatible processes in the titles studied. Finally, we observe the connection between the closet and cinema according to the film/spectator experience, where the body reterritorializes cinematographic images through a carnal consciousness that is linked to each person's cultural maps. Through the clipping and focalization (PAASONEN, 2011) of some scenes present in the analyzed filmography, we show how the materiality of the film affects its audience, especially those in which the closet conditions new practices of subjectivity and affection.
O jornalismo como palco de disputas discursivas : o movimento feminista no Jornal A Gazeta do Espírito Santo (1986-2016)
(Universidade Federal do Espírito Santo, 2018-04-06) Machado, Viviane Ramos; Reis, Ruth de Cássia dos; Geraldes, Elen Cristina; Alves, Gabriela Santos
This work intends to understand how feminist discourses are constructed in the journalism discursive territory, specially in Jornal A Gazeta, from 1986 to 2016. We started with the assumption that journalism provides visibility to discourses made invisible by cultural standards in it's normality and repetition, and, by doing that, creates the news that guides our everyday life. We dealt, most of all, with the communication, current object in our everyday life, with sensible existence, with domain of what is real and established in practices and objects that we see, hear and feel. For the theoretical and methodological framework, we adopted the Depth Hermeneutics (DH), developed by Thompson (2011), a social investigation practice that allows the understanding of how symbolical actions are made. In addition to, we outlined the most important feminist movement milestones in Espírito Santo, starting with the vestiges left by news reports in the analyzed newspaper, worked out a quantitative analysis of the data obtained with the research and analyzed six texts selected under the Critical Discourse Analysis, proposed by Norman Fairclough (2001). We perceived, well-founded by the empirical research, that there is a diversity in the content published about the feminist movement. Even though, most of it are published in spaces dedicated to fictional and cultural products, we were also able to identify texts with a more deep political content, that oppose to distinct society organization methods, refute laddish and conservative standards, illustrate the constant struggle for equal rights between men and women, as well as especulate the future of feminism. The reproduction of feminist discourses in the newspaper, however, was not limited by positive constructions; we also identified the emergence of texts that reproduce the stereotype of a housewife, hypersexualized, and excluded from positions of power in the society
Realizadoras capixabas: o cinema de mulheres no Espírito Santo em três gerações
(Universidade Federal do Espírito Santo, 2021-08-25) Aguiar, Raysa Calegari; Alves, Gabriela Santos; https://orcid.org/0000-0001-5243-7499; http://lattes.cnpq.br/5801228543473679; https://orcid.org/0000-0003-3735-9167; http://lattes.cnpq.br/0002164831174946; Vieira Junior, Erly Milton; https://orcid.org/0000-0001-8942-8975; http://lattes.cnpq.br/5304948146950132; Araújo, Karla Holanda de; https://orcid.org/0000-0003-2753-7679; http://lattes.cnpq.br/2822736880722647
This presents and analyse the audiovisual production made by women in the state of Espírito Santo - Brazil. The first chapter segments this production into three generations: the first comprises women who started their productions from 1989 to 1997. The second generation runs from 1998 to 2010. And the third and last, from 2011 to 2019. The proposed layout comes, in large part, from the crossing of data present in the articles and cast & crew of films published in ten editions of the Revista Milímetros, the capixaba audiovisual magazine, which were edited and distributed by the Brazilian Association of Documentarians and Short Filmmakers of Espírito Santo - ABD Capixaba between 2008 and 2019 and the book Plano Geral, a panoramic catalog work on the capixaba audiovisual production written by Prof. Dr. Erly Vieira Junior, one of the elements that make up the theoretical framework of the research. In the next chapter, the dissertation goes deeper into the history of ABD Capixaba and its catalog publication, Revista Milímetros. At this moment, the numbers of female production in the state are analyzed and a comparison is made with the numbers related to male production. For this analysis, the proportions presented by the GEMAA Bulletin on representation in the Brazilian audiovisual are taken into account. In the last chapter, interviews conducted with eight capixaba women filmmakers who cohabited the competitive exhibition held by ABD throughout its existence are discussed. The filmmakers with the greatest number of works participating in the Exhibitions and also black filmmakers from each generation were selected. Among the topics discussed with the interviewees are the motivations for their entry into the audiovisual sector, difficulties throughout their career, and other perceptions that confirm or not the data presented in the previous chapters. The interviews are fully transcribed in the work's appendices. From the conclusions reached in the research, the confirmation of the generational division in the reports of the filmmakers, the importance of public policies of inclusion for the diversification of the sector and the existence of other research corpuses that can be investigated for the consolidation of the panorama of women's cinema of Espírito Santo stand out.
Reencantamento digital? : a internet como ferramenta de poder da igreja
(Universidade Federal do Espírito Santo, 2017-03-22) Lambert, Karina Inácio de Araujo; Alves, Gabriela Santos; https://orcid.org/0000000306623703; Fonseca, João Barreto da; Martinuzzo, José Antônio
The history of humanity is marked by religion. Assuming the status of bridge between gods and men, religious institutions succeeded in maintaining, for centuries, relations of power as holders of religious knowledge, considered as unquestionable. In this way, their influence has unfolded on different fronts, becoming a social phenomenon that leads to behaviors, opinions and directs actions, often of entire societies. Until the rationality characteristic of modernity, driven by capitalism and Enlightenment thought, fragmented the religious world, provoking what Max Weber (2004) calls disenchantment. At that moment religion lost its hegemony as a producer of meaning, becoming a subjective choice. However, the pace and accelerated changes promoted by information technology have breathed new life into religion, but not without causing profound changes. From then on, there is the "unfolding of an individual, mobile and moldable religiosity that gives way to new forms of religious sociability" (HERVIEULÉGER, 2015, p.30). The media become a two-way street, for they both allow for a reenchantment by religion, and they bring about a shake-up in the authority of institutions, since they are no longer the sole holders of religious knowledge. Thus, this research seeks to approach the religious panorama of our time from the constant movement of religious institutions to maintain their authority and power relations, often manipulating the sacred in pursuit of social, political, and economic interests in a control society in which Power and institutions are crossed by the message of communication.

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