1,720,956 research outputs found
A sala de roteiro no Brasil: Um modo híbrido de criação audiovisual – a série O Rei da TV
Full text linkWith the diffusion of streaming services and a growing demand for series, producers and screenwriters were encouraged to use an American method for writing narratives: the writer’s room. The writer’s room is a method with marked hierarchy and a preponderant figure in the decision process, the showrunner. However, Brazil has a tradition in film and television production. In most of the films and series made, the way of conducting the projects, is marked by authorial cinema, a Brazilian derivation of the policy of the authors of Cahier du Cinéma. The article starts from the possibility that the current audiovisual narratives have characteristics of the two working methods, and the clash between the methods produces marks in the materiality. With the support of the theories of the creation process of Cecilia Salles, will be analyzed the series The King of TV, produced by Gullane Films and shown in Star Plus. The series tells the story of television presenter Silvio Santos, one of the most popular names in the country. A character with strong potential to attract viewers, but with many challenges to transform into a fictional subject. When reflecting on the procedures of creation of the narrative about the famous presenter, the article finds that the Brazilian writer’s room is a hybrid mode of audiovisual writing, but still without a systematization of methods. The lack of systematization is a feature of the current moment of Brazilian production, which has not yet consolidated a balanced relationship between screenwriters, producers and streaming platforms.With the diffusion of streaming services and a growing demand for series, producers and screenwriters were encouraged to use an American method for writing narratives: the writer’s room. The writer’s room is a method with marked hierarchy and a preponderant figure in the decision process, the showrunner. However, Brazil has a tradition in film and television production. In most of the films and series made, the way of conducting the projects, is marked by authorial cinema, a Brazilian derivation of the policy of the authors of Cahier du Cinéma. The article starts from the possibility that the current audiovisual narratives have characteristics of the two working methods, and the clash between the methods produces marks in the materiality. With the support of the theories of the creation process of Cecilia Salles, will be analyzed the series The King of TV, produced by Gullane Films and shown in Star Plus. The series tells the story of television presenter Silvio Santos, one of the most popular names in the country. A character with strong potential to attract viewers, but with many challenges to transform into a fictional subject. When reflecting on the procedures of creation of the narrative about the famous presenter, the article finds that the Brazilian writer’s room is a hybrid mode of audiovisual writing, but still without a systematization of methods. The lack of systematization is a feature of the current moment of Brazilian production, which has not yet consolidated a balanced relationship between screenwriters, producers and streaming platforms.With the diffusion of streaming services and a growing demand for series, producers and screenwriters were encouraged to use an American method for writing narratives: the writer’s room. The writer’s room is a method with marked hierarchy and a preponderant figure in the decision process, the showrunner. However, Brazil has a tradition in film and television production. In most of the films and series made, the way of conducting the projects, is marked by authorial cinema, a Brazilian derivation of the policy of the authors of Cahier du Cinéma. The article starts from the possibility that the current audiovisual narratives have characteristics of the two working methods, and the clash between the methods produces marks in the materiality. With the support of the theories of the creation process of Cecilia Salles, will be analyzed the series The King of TV, produced by Gullane Films and shown in Star Plus. The series tells the story of television presenter Silvio Santos, one of the most popular names in the country. A character with strong potential to attract viewers, but with many challenges to transform into a fictional subject. When reflecting on the procedures of creation of the narrative about the famous presenter, the article finds that the Brazilian writer’s room is a hybrid mode of audiovisual writing, but still without a systematization of methods. The lack of systematization is a feature of the current moment of Brazilian production, which has not yet consolidated a balanced relationship between screenwriters, producers and streaming platforms.Com a difusão de serviços de streaming e uma crescente demanda por séries, produtores e roteiristas foram estimulados a utilizar um método norte-americano para a escrita de narrativas: a sala de roteiro. A sala de roteiro é um método com hierarquia marcada e com uma figura preponderante no processo de decisão, o showrunner. Entretanto, o Brasil tem uma tradição na produção de cinema e televisão. Em parte dos filmes e séries realizados no país, a forma de condução dos projetos é caracterizada pelo cinema de autor, uma derivação brasileira da política dos autores da Cahier du Cinéma. O artigo parte da possibilidade de que as atuais narrativas audiovisuais possuem características dos dois métodos de trabalho, e o embate entre os métodos produz marcas na materialidade. Com o apoio das teorias de processo de criação de Cecilia Salles, será analisada a série O Rei da TV, produzida pela Gullane Filmes e exibida na Star Plus. A série conta a história do apresentador Silvio Santos, um dos nomes mais populares da televisão brasileira. Um personagem com forte potencial para atrair espectadores, mas com muitos desafios para se transformar em um sujeito ficcional. Ao refletir sobre os procedimentos de criação da narrativa sobre o famoso apresentador, o artigo constata que a sala de roteiro brasileira é um modo híbrido de escrita audiovisual, porém ainda sem uma sistematização de métodos. A falta de sistematização é um traço do atual momento da produção brasileira, que ainda não consolidou uma relação equilibrada entre roteiristas, produtoras e plataformas de streaming
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Full text linkWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Dispelling the Myths Behind First-author Citation Counts
Full text linkWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
The script room in Brazil: a hybrid mode of audiovisual creation
No full textEsta tese investiga os processos de criação da produção audiovisual brasileira contemporânea. De maneira específica, foca em um modo de organização da produção, a sala de roteiro. Com a difusão de serviços de streaming e uma crescente demanda por séries no Brasil, produtores e roteiristas foram estimulados a utilizar o método norte-americano para escrita de narrativas, nos Estados Unidos chamada de Writer’s Room. A sala de roteiro é um método com hierarquia marcada e com uma figura preponderante no processo de decisão, o showrunner. Entretanto, o Brasil tem uma tradição na produção de televisão e cinema. Por um lado, a novela, o melodrama televisivo, continua sendo um dos programas mais assistidos do país, e possui um método próprio de criação da narrativa. Por outro lado, em parte dos filmes e séries realizadas no país, a forma de condução dos projetos é marcada pelo cinema de autor, uma derivação brasileira da política dos autores da Cahier Du Cinéma. Além disso, a sala brasileira possui uma forte interferência dos executivos das plataformas de streaming e dos interesses da produtora que abriga a sala de roteiro. Quais histórias e quais linguagens são resultado dessas combinações são as perguntas que essa investigação faz. Para isso, o foco da pesquisa irá se dirigir para séries como Rota 66 (2022), criada por Maria Camargo e Teodoro Poppovic, O Rei da TV (2022), criada Marcus Baldini, André Barcinski e Ricardo Grynszpan, Cangaço Novo criada por Mariana Bardan e Eduardo Melo. São objetos que, de alguma forma, conviveram, em seus processos de criação, com a combinação de diferentes métodos, diferentes tradições, formando uma sala de roteiro híbrida. Como fundamentação teórica, a pesquisa mobiliza os conceitos de crítica do processo de Cecilia Salles. Ao analisar como se desenvolveu a concepção das narrativas audiovisuais, poderemos verificar se, assim como nos traz a pesquisadora, o processo de criação se faz em rede e é consequência da interação entre os projetos pessoais dos diversos membros da equipe. Além disso, a pesquisa dialoga com a história do audiovisual brasileiro, e as reflexões de teóricos como Esther Hamburger e Jean-Claude Bernardet sobre a televisão e o cinema nacional são importantes pontos de apoio para a análise da forma como a produção dos roteiros das séries se organizou no paísThis thesis investigates the creative processes in contemporary Brazilian audiovisual production. Specifically, it focuses on a mode of organization of the production, the Writer’s Room. With the diffusion of streaming services and a growing demand for series in Brazil, producers and writers were encouraged to use the North American method for writing narratives, and the Brazilian writer’s room is denominated sala de roteiro. The Writer’s Room is a method with marked hierarchy and with a preponderant figure in the decision process, the showrunner. However, Brazil has a tradition in the production of television and cinema. On the one hand, the soap opera, the television melodrama, remains one of the most watched programs in the country, and has its own method of creating the narrative. On the other hand, in part of the films and series produced in the country, the way of conducting projects is marked by author’s cinema, a Brazilian derivation of the authors' policy of Cahier Du Cinéma. In addition, the Brazilian writer’s room has a strong interference from executives of streaming platforms and the interests of the producer that houses the script room. Which stories and which languages are the result of these combinations are the questions that this investigation raises. For this, the focus of the research will be directed to series such as Rota 66 (2022) created by Maria Camargo and Teodoro Poppovic, O Rei da TV (2022) created by Marcus Baldini, André Barcinski and Ricardo Grynszpan, Cangaço Novo created by Mariana Bardan and Eduardo Melo. All objects that somehow coexisted in their creation processes with the combination of different methods, different traditions, forming a hybrid writer’s room. As a theoretical foundation, the research intends to use the concepts of the critical theory of creative processes developed by Cecilia Salles. By analyzing how the conception of audiovisual narratives has created, we can verify whether, as the researcher brings us, the creation process is done in network and is a consequence of the interaction between the personal projects of the various team members. In addition, the research dialogues with the history of Brazilian audiovisual and the reflections of theorists such as Esther Hamburger and Jean-Claude Bernardet about television and national cinema will be important points of support for the analysis of how the production of series' scripts was organized in the countryCoordenação de Aperfeiçoamento de Pessoal de Nível Superior – CAPE
koamabayili/VECTRON-author-checklist: VECTRON author checklist
No full textWe have done our best to complete the author checklist relating to the use of animals in the hut study. Note that the objective for the hut study was to evaluate the IRS treatment applications for residual efficacy against Anopheles mosquitoes, including the local An. coluzzii mosquito population. Cows were only used to attract mosquitoes into the huts and no tests were carried out directly on the cows. The author checklist is intended for use with studies where experiments are carried out on animals, which is why we have had such difficulty in completing this for the hut study, as many of the questions do not relate to how the cows were used
Montagem audiovisual transmidiática: é possível pensar em relações entre imagens e sons de diferentes mídias?
No full textEsta pesquisa tem como objetivo investigar as estratégias narrativas transmídia da série The Walking Dead de Frank Darabont e Robert Kirkman. A série possui um universo narrativo complexo que está distribuído na televisão, em episódios na web, nos quadrinhos, em jogos online, em jogos de videogame, etc. Como hipótese, a investigação utiliza as teorias da montagem para refletir se as combinações de imagens e sons de diferentes plataformas podem construir novos significados. A pesquisa procura identificar como a montagem pode manter a continuidade nos conteúdos de The Walking Dead dispersos nas diferentes plataformas e que novos sentidos podem surgir quando imagens e sons do conteúdo transmídia de The Walking Dead são justapostos. Como referência para análise, recorremos às concepções da linha de pesquisa “Processos de criação na Comunicação e Cultura” liderada pela professora Cecilia Almeida Salles. A montagem e o montador serão destacados como elementos fundamentais para a elaboração do universo ficcional e da estética da série zumbi e, portanto, vistos como parte da complexa rede de criação do sistema transmídia de The Walking Dead. Por fim, a dissertação irá discutir conceitos de autores que refletem a linguagem televisiva, como Henry Jenkins, Jason Mittel e Arlindo Machado, para destacar como The Walking Dead fez parte de um novo modelo de narrativa junto com outras séries que surgiram ao longo das primeiras décadas de 2000. Desta maneira, a pesquisa propõe uma atualização das teorias de montagem com a inclusão do transmedia storytelling como propulsor para novas relações audiovisuaisThis research aims to investigate the transmedia narrative strategies of the tv series “The Walking Dead” by Frank Darabont and Robert Kirkman. The tv series is an example of narrative complexity and its universe is distributed on television, in webisode, in comics, in online games, in video games, etc. As a hypothesis, the investigation uses editing theories to reflect on whether combinations of images and sounds from different media can build new meanings. The research seeks to identify how the editing can maintain the continuity between the different contents of “The Walking Dead” dispersed on multiplatforms and what new meanings can arise when all the images and sounds from the transmedia content of the series of “The Walking Dead” are juxtaposed. As a reference for analysis, we use the conceptions of the research line “Creation processes in Communication and Culture” led by Cecilia Almeida Salles. The concepts of montage and the role of the editor are highlighted as fundamental elements for the elaboration of the fictional universe and the aesthetics of the zombie series. Therefore, they are part of the complex network of creation of the transmedia system of "The Walking Dead". In addition, the dissertation will discuss concepts by authors that analyse television language, such as Henry Jenkins, Jason Mittel and Arlindo Machadoand to highlight how “The Walking Dead” was part of a new narrative model along with other tv series that emerged during the first decades of 2000. In this way, this research proposes an update of editing theories with the inclusion of transmedia storytelling as a driver of new relations between image and soundCoordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPE
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