ECA - Escola de Comunicações e Artes

O presente trabalho se propõe a discutir o conceito de visibilidade enquanto empregado para tratar da emergência de feminismos na mídia contemporânea, em um contexto de convivência de políticas de visibilidade e economias de visibilidade. Apontamos que tal contexto dificulta o emprego do conceito de visibilidade enquanto condição de partida para a análise, pois esta visibilidade se dá em diferentes modalidades, que devem ser delimitadas a partir da crítica a um objeto empírico específico. Por fim, propomos o conceito de feminismos midiáticos, que compreende a relação dos feminismos contemporâneos com uma cultura midiática, como ponto de partida mais produtivo para delimitar o campo o qual devemos colocar sob exame para pensar a relação feminismo vs. mídia na atualidade.

A recente emergência de discursos e ideias feministas na cultura midiática tem se dado em meio a um contexto de ênfase no indivíduo que traz o empoderamento como uma de suas questões centrais, dentro de um quadro neoliberal de autoempreendedorismo que tende a não desafiar estruturas de opressão. É a partir dessa perspectiva que interrogamos o ideal de empoderamento implicado nas narrativas e imagens dos filmes Mulher-Maravilha e Capitã Marvel — fortes catalisadores de discussões de gênero no contexto do cinema hollywoodiano e exemplos de textos nos quais pode ser mapeada a emergência dos feminismos midiáticos —, e sua relação com um novo tipo de sujeito feminista que aceita total responsabilidade pela construção de sua própria autoestima e confiança, sob uma biopolítica que disciplina corpos e mentes.

The proposal of this research is the radio drama while being explored in the field of verbal plasticity. It is investigated the historic of the genre and its asthetical precepts, as well the composition of radiotheatrical experiments from diferent textual materials. In the meantime, the word is taken as a plastic element: the word that can be carved, molded and worked as action by elocution – the result of the gathering between the word and the particular universe of its transmitter.

O presente trabalho utiliza o método de análise ativa, formulado por Konstantin Stanislávski, como ferramenta para análise do conto O Conhecedor, de Luís Fernando Veríssimo; procurou-se, a partir disso, investigar o processo de desenvolvimento de vida da obra através de subterfúgios pertinentes a tal método, tais como seus elementos estruturais e a criação da “novela da vida” das personagens sob a óptica do diretor teatral. Trata-se do início da sistematização de um processo de construção cênica que buscou transcender a mera ilustração da palavra, cujo desenvolvimento comprova a individualidade de cada espetáculo, reforçando ideias presentes no conceito “fenômeno teatral” – na acepção de Anatol Rosenfeld – a partir da relação única entre autor, diretor e ator. Deste processo, resultado da disciplina Direção Teatral I e do projeto de ensino EncenaAção: Estudos Teórico-Práticos em Direção Teatral – ambos coordenados pela Professora Mestre Adriane Maciel Gomes e direcionados ao terceiro ano da graduação em Artes Cênicas da Universidade Estadual de Londrina –, foi gerada a prática Mise en Sogno, levada a público em outubro de 2012.

In Anais do CIELLI 2014 (pp. 3438-3449). Maringá: Universidade Estadual de Maringá.

This paper presents the first chart of a research that, aiming at becoming a thesis, intends to outline a kind of genealogy of the telenovela O Casarão, by Lauro César Muniz, produced and showed by Rede Globo in 1976. It is a study that besides entrenching in literary and artistic influences pertinent to the author’s creative universe – such as A Moratória, a play written by Jorge Andrade in 1954; a chronicle by Helena Silveira named Nu Para Vinicius, which would be the basis to the TV play A Estátua, presented by Excelsior TV, and to the play A Morte do Imortal, both written by Lauro; and also the autor’s previous telenovelas (Os Deuses Estão Mortos, Quarenta Anos Depois, Escalada...) –, it will inquire the paths followed by the telenovela so that in a such daring plot could be showed at 8 p.m., the most important and profitable schedule in the Brazilian’s broadcasting, during the dictatorship. Under this perspective and studying the break of the traditional canon of the telenovelas proposed by the above mentioned telenovela, deeply connected to the time issues of the narrative, the research tries to comprehend the history of the Brazilian TV’s dramatic art under an aesthetics perspective. Lauro César Muniz, the author, was very receptive to the work and has already given an interview to the researcher.

In G. Davino, & F. Bellicieri (Eds.), Cenas das interfaces com o mercado: histórias de roteiristas (pp. 131-140). São Paulo: NACL Editora.

O presente artigo investiga como a telenovela Velho Chico (Globo, 2016), ao congregar elementos e procedimentos tropicalistas nas mais diversas instâncias de sua concepção, interpreta seu contexto de emergência e se insere no panorama audiovisual contemporâneo. Para isso, aborda-se a telenovela brasileira e sua imbricação histórica nos movimentos socioculturais da nação à luz da complexidade, tangenciando os níveis cultural, estético e social da experiência comunicacional por ela propiciada.

In Anais do XXXIX Congresso Brasileiro de Ciências da Comunicação. São Paulo: Universidade de São Paulo.

This paper presents a summary of the work “Por uma teoria de fãs da ficção televisiva brasileira”, result of ten collaborative investigations developed between 2014 and 2015 by a team of researchers from the group Obitel Brazil. It focuses on the different approaches to the issue of television fiction fan as an active subject in cultural production, placed in the context of digital technologies. Finally, the paper highlights the importance of these studies in the current communication scenario.

Based on Gilbert Durand’s theory of the imaginary, this article focuses on the myth criticism examination of the “anthropological inventory” of the telenovela O Casarão (“The Chateau”, Globo, 1976), written by Lauro César Muniz. Our aim is highlight some recurrent myth themes founded on this author’s work for television. For Durand (1985; 2002), the mythological narratives are structured by patterns and archetypes present in the human psyche, operating as a matrix model of any discourse – textual or visual. The French academic proposes, then, the mythocritique method for the identification of myths and myth themes (smaller units of a myth) present in the dynamics of the imaginary in a certain cultural product or in a group of cultural products. Authors such as Paiva (2010) and Anaz (2016), on the other hand, use the Durandian perspectives for understanding and analyzing the imaginaries that emerge from the audiovisual productions. This article shares these contributions, consubstantiating them to reflections referring to the telenovela O Casarão already discussed in a previous work (NÉIA, 2015). We conclude that the mythic substrates contain in O Casarão are strongly linked to the cyclical aspect of Lauro César Muniz’s TV works. Telenovelas such as Escalada (“Climbing”, Globo, 1974) and Scars (Cidadão Brasileiro, Record, 2006) also present protagonists who seek to return by the chaos instauration and incur – as Os Deuses Estão Mortos (“The Gods Are Dead”, Record, 1971) and Quarenta Anos Depois (“Forty Years Later”, Record, 1971) – to the myth theme of the aging. The idea of eternal recurrence seems to make sense in Lauro’s TV trajectory: in addition to the recurring themes, geared to the great historical milestones of our country, the author constantly revisits his own theatrical and television works, either by inspiration direct or by suggestion. All these preambles make us reflect, finally, on the notions of historical instance and archetypal instance (ANAZ, 2016). We envisage a research horizon in which, in the light of the complexity and the myth of Dionysus (PAIVA, 2010), the investigation of the imaginaries that emerge from the telenovelas should not be reduce to ideologies restricted to the context of production of these TV fictions.

In G. Davino (Ed.), Confabulações imaginárias (pp. 83-94). São Paulo: Programa de Pós-Graduação em Educação, Arte e História da Cultura.

The search for the comprehension of the telenovela script’s narrative structure originated the present paper, which explores the investigation and analysis process of the first chapter of four TV fictions written by Lauro César Muniz, belonging to different contexts of production and exhibition. They are: O Salvador da Pátria (Globo, 1989), Zazá (Globo, 1997), Another Power (Poder Paralelo, Record, 2009) and Masks (Máscaras, Record, 2012). We construct an analysis methodology that, also in function of the available sources (FREIRE FILHO, 2007) – scripts and audiovisual chapters –, compares narrative elements common to the texts and the poetics of the author. We based our analysis primarily on: Pallottini’s (2012) notes on the basic structure of a telenovela; McKee’s (2006) theorizations about narrative substances and the structure of a script; Marquezi’s (2017) guidelines regarding the analysis of pilots of TV series; and the report made by Anzuategui (2012) about a research with telenovela screenplays. From this conceptual framework, we want to identify not only thematic-narrative transformations in Lauro César Muniz’s works for television in the course of time, but also to highlight formal modifications that dialogue with the dynamism of the actual television context. In this scenario, amid a diversification and hybridization of forms and contents (LOPES et al., 2016), we look at evident tensions between the TV narratives and their units (chapters/episodes) (SILVA, 2015). The series are betting more and more on long dramatic archs – archs that interweave with the cloth of the season, when not of the whole series –, converging to a process of “telenovela-ization”. Meanwhile, the telenovelas invest in plots and short archs that, developed parallel to the main plot, provide a dynamic flow of stories and characters, expressing agility for the action and walking to a “serialization” of the TV novel narrative. We aim to perceive this “serialization” in the comparative analysis of the first chapters’ script of telenovela, in addition to observing reconfigurations in the work of an author who, for more than fifty years, conceives his plots for television as the extension of his theatrical art, presenting in the audiovisual the same anxieties that moves him on stage.

In G. Davino (Ed.), Confabulações imaginárias (pp. 105-118). São Paulo: Programa de Pós-Graduação em Educação, Arte e História da Cultura.

The research aims to draw a cultural history of Brazilian telenovela in order to investigate the contemporary television context. In addition, it intends to generate prospects about the future of this TV fiction format and of television itself in Brazil. Based on a multi-methodological and transdisciplinary analysis of 30 telenovelas, the purpose is to observe the interrelations between this narrative with melodramatic roots and the construct of Brazilian national identity from the 1950s to the present day.

In R. Fígaro, & M. R. Gomes (Eds.), Conexão Pós: diálogos e intersecções na pesquisa discente (pp. 73-83). São Paulo: ECA-USP.

This paper proposes discussions about historical processes and research perspectives identified in the trajectory of Brazilian telenovela from 1968 to 2018. To this end, it presents a diachronic axis punctuated by inflections that, derived from synchronic analyzes, gradually increase, trying to demonstrate the path of the author’s interpretive thinking. The understanding of Brazilian telenovela as “narrative of the nation” (LOPES, 2009) provides support for a historical-cultural approach to the object, enabling social, aesthetic and communicational readings of Brazil’s history from TV fiction. In the investigation not only of the works, but of the realities and notions of “brasility” that they represent, it is concluded that the establishment of a cultural history of telenovela also implies the discussion of silences, of Brazils denied by Brazil itself – national identity is, after all, a space of social, cultural, political, ideological, and also marketing (in the case of television) disputes –, and of events and fractures that have not yet been fully assimilated by the own history of the country – hence the difficulty of transforming them into narrative.

In Anais do MEDIACOM 2019 (pp. 410-427). São Paulo: Faculdade Paulus de Tecnologia e Comunicação.

This study gathers classical researches of melodrama in theater, literature, film, radio and television studies to reflect on the current transnationalization flows of TV fiction around the world. Thus, we observe, in the context of the transnational television fiction, the permanent and the residual characteristics present in the historical process of melodrama. We believe that this research, by putting into dialogue European, North American and Latin American conceptions, provides perspectives to understand how the melodrama subscribes to and writes the postmodern condition, essentially through characteristics that transcend aesthetic, cultural and historical instances.

In Memorias del Congreso ALAIC 2018: GI 2. Ficción televisiva y narrativa transmedia (pp. 130-135). San Pedro: Universidad de Costa Rica.

The paper explores epistemological and theoretical perspectives of a research that aims to investigate a cultural history of the Brazilian telenovela with the purpose to understand the contemporary television context. We discuss the transdisciplinary nature of the investigation for highlighting the interactions between Communication and History, identifying the research problem in the midst of theoretical models that challenge the disciplinary boundaries. Finally, we intend that this conceptual framework will subsidize an approach to the Brazilian telenovela in the light of complexity, in order to observe the interrelations between this melodramatic matrix narrative and the construct of national identity from the 1960s to the actuality.

In Anais do I Congresso TeleVisões. Niterói: Universidade Federal Fluminense.

O presente trabalho investiga a presença de elementos não-naturalistas na telenovela O Grito, escrita por Jorge Andrade e produzida e exibida pela Rede Globo entre 1975 e 1976. Pormenorizam-se os seguintes tópicos: a relação do título da trama com o quadro homônimo de Edvard Munch, obra-chave do movimento expressionista; a São Paulo distópica e opressora descrita tanto nos roteiros da telenovela quanto vista no produto audiovisual final; temas ligados à angústia e ao desespero existencial das personagens da trama – sentimentos personificados nos agonizantes gritos dados pelo filho de Marta (Glória Menezes), a protagonista.

In Anais do IX SELISIGNO e X Simpósio de Leitura da UEL. Londrina: Universidade Estadual de Londrina.

Currently Brazil is struggling to overcome the effects of economic contraction cycle from 2014 to 2016, when process of social mobility that was been conducted for a decade was interrupted. The result was increased inequality and poverty. By 2018, although the long and sharp recession had ended, the growth was small. These factors, and others such as corruption, security, unemployment, etc., are closely linked to the profound political change that followed, with the first election of a far-right government in Brazil. Given this context, paradoxically, we have verified important advances in the audiovisual industry, with the accelerated and permanent incorporation of digital communication, reflected in the production, perception and distribution of TV fiction. This new order should be studied and analyzed in detail aiming at understanding its multiple meanings, considering the possible improvements as well as future problems. There is one certainty: the digital transformation is in full force in Brazil, in films and TV series, communication and regulation policies, changes in the audience, narratives of fiction and social media – in an effervescence in which, “all together and mixed”, a new configuration seeks to organize itself, still poorly visible.

In M. I. V. Lopes, & G. Orozco Gómez (Eds.), Television Distribution Models by the Internet: Actors, Technologies, Strategies (pp. 69-104). Porto Alegre: Sulina.