Comunicação e Sociedade (E-Journal)
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Between music and technology: existence and functioning conditions of the Brazilian phonographic industry in the 21st century
Get PDFThis paper discusses the digitalization process of the Brazilian music industry through bibliographical, documental and empirical sources – the latter based on fieldwork and personal interviews conducted from July 2014 to June 2015. To achieve this goal, I intend to: highlight the conditions that lead to the emergence of the digital age; analyze the development of medias, devices and equipment which may have led to this turning point; investigate the possibilities of music production and distribution in the Brazilian context; cross the local circuits of piracy and the independent ways of commercialization, including digital distribution and the copyright issue. The hypothesis raised at the end of this research is that the existence and functioning of the current phonographic industry is pervaded by ruptures and continuities. Finally, I hope that this paper may bring new perspectives about the relationship between music, culture, communication and technology in the Brazilian contemporary context. Particularly, based on empirical research, I reflect upon the effects, ruptures and continuities observed in the current context of digitalization
From communication to art: McDonald’s and flat design
Get PDFThe status of communication objects or images always changes. This paper proposes to observe this phenomenon from a semiotics point of view in order to analyse how a brand reinvents its visuals and how this reinvention is related to a new marketing strategy. In fact, this paper tries to show how meaning of posters reveals the importance of brands in contemporary everyday life. We will show that the ads created by TBWA for McDonald’s 2015 campaign are rather considered as an aestheticisation project than an artisticisation. While inspired by the brand’s “mythologic” history and pushing properties of the product into the background, flat design exemplifies the latest forms of life to date. Therefore, brands seem more involved and rooted in social life as their communication strategy is rather based on gathering a community than advertising their products. Visual ads are hence absorbed by an aestheticisation practice, specific to connected life, from which they adopt the norms. As it remains distinctive, art also maintains its criticizing position and Murakami’s superflat thus discloses a certain disenchantment concealed in standardised designs
Forget Bárbara Virgínia? A forerunner filmmaker between Portugal and Brazil
Get PDFBárbara Virgínia was a forerunner film director in Portugal and the Festival de Cannes. Starting artistically as a diseuse and actress, she directed a feature film and a documentary in her youth, in 1946. Bárbara emigrated to Brazil in 1952 to work on radio and television, the country where she settled, formed a family, eventually abandoning the stages, and died in 2015. For this socio-biography, we collected and analysed public and private memory documents, a research interview and conversations with her family. To construct our analysis and strengthen a feminist perspective, we used Portuguese cinema’s History and memoirs. We both avoided mythologising and aimed at unveiling the patriarchal gaze which shapes some literature about Bárbara Virgínia. We built our questioning and analysis from Linda Alcoff’s and Teresa de Lauretis’s gender studies, from the sociology of culture by Pierre Bourdieu who Bev Skeggs borrowed for her intersection of class, gender and coloniality, alongside historical and social research about both countries’ context. The paper focuses on the artistic and familiar roles played by the filmmaker, and proposes an interpretation aimed to contribute to a fine knowledge about gender and class barriers to cultural and professional practices at that time, while it also discusses the erasure of memory about Barbara Virginia
Virginia Woolf e a fotografia
Get PDFA partir do ano 2000, o volume da análise crítica sobre Woolf e a sua relação com o visual tem quadruplicado. O trabalho de pesquisa sobre uma Woolf fotográfica – que inclui a interação de outros fotógrafos com Woolf, como Gisèle Freund, ou a minha própria análise dos álbuns de fotos pessoais de Woolf e Bell – mostra como estas mais recentes questões de Woolf e da fotografia são agora um tema absolutamente central em qualquer análise dos estudos de Virginia Woolf, adquirindo uma importância notória se considerarmos o aspeto interdisciplinar da fotografia e do género
O mundo engarrafado e a arqueologia da encenação: gravações audiovisuais como registro de producções operísticas
Get PDFEste trabalho se debruça sobre o uso de gravações audiovisuais como documentos para análise de producções de ópera contemporâneas agrupadas pela crítica alemã sob o termo teatro de director [Regietheater]. Nesse conjunto de abordagens, o projeto de obra de arte integral [Gesamtkunstwerk] de Wagner ganha um novo impulso e significado, pois as três dimensões da arte operística – verbal, musical e visual – deixam de trabalhar em conjunto para a mobilização do drama e passam a constituir textos distintos. Neste artigo, discutiremos as limitações da gravação audiovisual para o registro de encenações operísticas de teatro de diretor, assim como recursos de linguagem de montagem fílmica que permitem reconstruir em texto audiovisual essas producções, com soluções por vezes distintas daquelas adotadas em palco. Interessa-nos, sobretudo, problematizar a equivalência que por vezes se estabelece entre uma encenação e sua gravação – especialmente no contexto contemporâneo de produções que realizam alterações frequentes e se caracterizam pelo caráter único de cada performance individual, sempre repleta de eventos singulares, com relativa autonomia em relação ao plano geral de direção. Para isso, discutiremos problemas e soluções da direção de vídeo em gravações audiovisuais de encenações de Der Ring des Nibelungen [O Anel do Nibelungo], de Richard Wagner (1813-1883)
Monstros, máquinas e pipocas: teatro do oprimido e protesto de rua
Get PDFEste artigo parte da experiência do Núcleo de Teatro do Oprimido de Braga no contexto das movimentações levadas a cabo, em Portugal, contra a austeridade, entre 2012 e 2013. Apresenta algumas das intervenções políticas e artísticas do grupo, bem como uma reflexão sobre o seu impacto e limitações. Pretende-se analisar as possibilidades de o Teatro do Oprimido (TO) intervir, influenciar ou potenciar o protesto de rua e, ao mesmo tempo, examinar em que medida pode esta experiência articular e interpelar as duas dimensões de crítica do capitalismo, social e estética, enunciadas por Boltanski e Chiapello na obra O novo espírito do capitalismo. A investigação insere-se numa perspetiva de investigação interventiva e participativa, procurando conceber e situar o TO enquanto ferramenta de ação coletiva e educação crítica, no âmbito das mobilizações sociais contemporâneas
Monsters, machines and popcorn: theatre of the oppressed and street protest
Get PDFThis article rises from the experience of the Theatre of the Oppressed Group from Braga in the context of the movements carried out in Portugal against austerity between 2012 and 2013. It presents some of the political and artistic interventions of the group, as well as a reflection on their impact and limitations. We intend to analyze the possibilities of the Theatre of the Oppressed (TO) to intervene, influence or enhance street protest and, at the same time, examine the extent to which this experience can articulate and question the two critical dimensions of capitalism, social and aesthetics, enunciated by Boltanski and Chiapello in their work O novo espírito do capitalismo [The new spirit of capitalism]. This article is part of an interventionist and participatory research perspective, that seeks to conceive and frame the TO as a collective action and critical education tool, within the context of contemporary social mobilizations
Violent objects: the forms of pathos in Yael Martinez, Glenna Gordon and Eugênio Grosso’s compositions
Get PDFThis article aims to investigate the photographers’ Yael Martínez, Glenna Gordon and Eugenio Grosso artistic works. Their photographs highlight the violence in representation of consumer goods which evoke the extended relations between the subjects and their personal belongings. This is a way to discuss the iconological status in such objects which are then converted in other significations patterns. The study of these artists’ composition strategies allows us to analyze the pathos-forms achieved by the anachronistic and dialectical montage which links the referential aspects and the decrease of iconological status in these images
Hermaphroditism and intersexuality in Portuguese medical photograph
Get PDFThe interest harboured by the Visual Culture of Medicine in photographic images of hermaphrodites dates back in Portugal to the birth of medical photography, with the photographic recording of a case of male hermaphroditism, that was studied in 1864 by Carlos Miguel Augusto May Figueira (1829-1913) at the Medical Clinic Service of the S. José Hospital, only four years after the publication of the seminal work on this topic by Félix Nadar. This 1864 study is one of the founding elements of a Portuguese scientia sexualis in the wider context of modern sexology, as described by Michel Foucault, that evolved in Portugal between the mid-19th century and the 1930s-1940s. The thematic lineage of research into hermaphroditism and intersexuality, initiated by May Figueira was subsequently pursued by Portuguese clinicians and medical scientists from the first decade of the 20th century up until the 1940s. The ultimate goal of the medical photographic recording of hermaphrodites was to pave the way to surgical correction, in strict compliance with binary sexual dimorphism that the original diagnosis never dared to question
Binding logics in art
Get PDFThe work of art produced in its origins was only much later recognized as such. Similarly, the artistic function of current art objects in the future may become accidental again. In fact, at no time has art ever answered exclusively to aesthetic demands. From these assumptions by Walter Benjamin (1936-1939/1992), we will attempt to apply to art the concepts of “binding” (original of ethology) and of “linking networks” (used in neuroscience) to explain distinctive aspects of image metaphysics, shared by art and religion. From a historical perspective, we will attempt to show the evolution of art in three main binding logics: art as a magical activity (also in relation to index logic); art as mimesis; and art as language. The image, or rather the multiple realities we call “image”, takes each one of these links, in an exchanging or simultaneous way, since image is their heiress. Taking into account the present context of media images hypervisibility, we aim, with this study, to show the importance of art and its mythical-religious ascendance in what concerns media image redefinition