Repositório RCAAP

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Monitoring and interpreting an increasing number of images has become part of people’s daily lives. These images trigger a complex process of relations that can result in direct human or non-human actions over people, over services or over the very space. As part of a broader and widespread mediascape, the repertoire of images, its organization and connection to multiple devices and huge databases, make interpretation processes much more complex and beyond our reach. When arranged in a network, technical devices do not need to follow a logic narrative of facts. Paradoxically, they contribute to the construction of all possible narratives. This work proposes, from an archaeological perspective, that the intentionality of images, especially those that are produced and circulate in digital environment, is the symptom of a contemporary episteme that delegates to objects not just a functional autonomy, but also one of existence and of description of the world. The multiplicity of digital images makes of them Beings that exist beyond the human and that constitute a kind of continuous phenomenological machinic process, an awareness of the self and of the other.

India’s soft power is on the rise, in parallel with its economic power as one of the fastest growing major economies in the world. This chapter discusses India’s soft power within four domains: firstly, the democratic strengths of India, a particular distinction among the BRICS countries. As the world’s largest democracy, India has retained and arguably strengthened democracy in a multi-lingual, multi-racial and multi-religious society. The second domain examines the diasporic dimension of India’s international presence, increasingly viewed by Indian government and corporates as a vital resource for its soft power. As the world’s largest English-language speaking diaspora, the Indian presence is visible across the globe. The third domain focuses on the emergence of an Indian internet – part of the Indian government’s ‘Digital India’ initiative, launched in 2015 - and its potential for becoming the world’s largest ‘open’ internet. The chapter argues that, with the government of Prime Minister Narendra Modi the push for digital commerce and communication is likely to increase. Already home to the world’s second largest internet population, its creative and cultural industries, notably Bollywood, have the potential to circulate across various digital domains, resulting in globalized production, distribution and consumption practices. However, the chapter argues that these three domains of soft power will remain ineffective until India is able to eliminate its pervasive and persistent poverty, afflicting large number of its citizens.

Erstwhile faith and belief in media and its potential for development spurred the growth of broadcasting to its present level in India. The arrival of printing press in the early phase of European colonialization subsequently lead to print journalism that is now more than 240 years old. Its sustained growth and coexistence with the new media in digital India is contrary to developments in many other nations where erstwhile print journalism is giving way to convergent media.  Reforms in the telecom sector and corresponding institutional arrangements have led to the formulation of an ambitious digital India programme.  This programme focusses more on enhancing the access and  equity to the rural population. The nebulous distinction between legacy media and social media has raised several issues including governance, production and consumption of content and delivery of welfare services including financial inclusion. These challenges are sought to be addressed through the digital infrastructure. Solving contemporary problems within the fragile and vulnerable social structure are daunting including the challenges posed by user generated content. The frequency of internet shutdowns across the country including conflict zones has increased.  A key economic and commercial variable in Digital India is the  media and entertainment (M&E)  industry that has  taken  full advantage of infrastructure b evolving newer revenue models in  the  over the top (OTT) platforms  and smart devices. India’s communication policy in a digital context will be examined as a national case study by drawing parallels where possible with one or two other BRICS nations.

During holidays, what, why, and how do women consume? Women’s attitudes and thoughts about food consumption should be researched in terms of their social roles. However, the important role of women in holiday planning process makes women's food consumption preferences and also behaviours an important data source especially for tourism managers. This study focused on the impact of holidays on women’s food consumption. For this purpose, face-to-face interviews were carried out with 15 women participants, who spent two holiday periods during the previous year – summer and winter – in Adıyaman, Turkey. According to the results of the survey, women’s food consumption preferences and behaviours change during the summer and winter holiday periods.

The digital economy covers ever larger dimensions of everyday life and sectors of the economy. In this context, this theoretical paper aims to discuss the different digital platforms created by this new sector of the economy and analyses what most of them have in common – the generation of added value based on the production of data by the users – but also what differentiates them. In this case, we will analyze intermediation platforms as well as the so called share economy and gig economy, with emphasis on the “work on demand” platform-enterprises in the third group. In a second time we will focus on the tourist industry where we’ll identify some of the new technologies and digital platforms created and incorporated in the industry and their impact on the labour market. For this purpose, we will use data and information provided by institutions such as ETUI, Eurofond, OIT, WTTC, World Bank, LAMFO/UnB, IPEA and IBGE as well as the terms and conditions of some platforms. The initial hypothesis was that the labour market in the tourist industry would be impacted only due to the entry of the gig economy platform companies into the hotel segment, such as Brigad. However, the survey revealed that the situation is much more serious. On the one hand, among the platforms of the gig economy, in addition to the hotel platforms, also the delivery platforms (iFood, Uber Eats, Rappi) and transportation (Uber and 99) are contributing to the precariousness of jobs in the sector. On the other hand, those in the share economy, such as Airbnb, as well as those in intermediation (including Decolar and Trivago) are also having a negative impact on the labor market, both in terms of the number of jobs destroyed such as lack of quality of those few who are created. Thus, we can say that the entry of these platforms in the sector is generating a wave of job insecurity in a job market already marked by precarious conditions.

The goal of the present study is to demonstrate the media-aesthetic potential of infographic messages on particular cases. This can be done due to an integrated approach to the analysis of the visual content of media content. That indicates the case study method implementation as well as description and generalization. The theoretical basis of the research is represented by scientific studies of various directions. That includes the history of media and visual media culture; features of the concepts of media culture and media language, media aesthetics; infographics as a tool of media language. The empirical basis of the study is journalistic materials containing infographic content of such publications as by RIA Novosti (ria.ru), TASS (tass.ru). The examples of visual image implementation in the transmission of information — media content containing infographics — are given and analyzed. Considering media aesthetics as the formation of a sensory perception of the proposed media content, the author turns to the philosophical and aesthetic foundations of visual practices in the media and post-humanistic trends in journalism. As a result of the analysis of the theoretical and practical basis of the research, the author comes to the conclusion that today the role of the media aesthetic component of messages is most relevant. And infographics, as the connecting link of language and consciousness, is its most striking tool.

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This paper seeks to examine the discourse on BRICS that are framed by digital journalists in South Africa. South Africa has been going through an uneasy economic path characterised by high unemployment rates, constant power cuts, and their economy relegated into a ‘junk status’. Against this background, BRICS presents a good opportunity for the country to negotiate and address some of its challenges/problems with other economic super-powers within the economic block. This paper comes against a background of silent research on BRICS yet the block has developed into an economic hub which other developing countries benefiting from it for the development of their economies. I therefore argue that South African digital journalists from the country’s leading news websites, News24 and Daily Maverick, are framing BRICS in a manner in which it reflects the socio-economic and political problems affecting the country.  Hence, the study had sought to find out the images of BRICS among the journalist and also information, events, and activities that are being prioritized in reference to South Africa’s challenges. Findings have shown that BRICS is benefiting South Africa. The benefit is seen through trade relations that are framed as having been improved while there are also other potential areas of cooperation that should be utilised.

This paper traces artistic and ideological discrepancies between the young generation of Hong Kong filmmakers and their predecessors – the established generation who contributed to the glory days of Hong Kong cinema during its economic boom. By tracing studies of national cinema and transnational cinema in the last three decades, the author argues that current Hong Kong cinema has split into two: a transnational cinema represented by the established generation of filmmakers; and a national cinema that is driven by the emerging generation who struggles for better preservation of Hong Kong local culture and their own cultural identities. To conduct the research, 47 people were interviewed including13 established filmmakers, 16 young filmmakers and18 film students from 3 universities in Hong Kong. The three groups of respondents generally represent three perspectives: that of the established film practitioners, who have a vested interest in the current co-production era; that of the emerging young film practitioners, who above all crave a flourishing local film market and whose productions exhibit stronger Hong Kong cultural identities; lastly, that of the, who were predominantly born in the 1990s and have the most extreme views against mainland China and whose filmmaking ideologies and practices foreshadow the future of the industry.

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The innovations of digital photography are transforming people’s experiences of producing, manipulating, sharing, and using their personal photographic images. The essentialist and representational dualistic viewpoints of photography that were initially developed in the era of the Daguerreotype appear no longer tenable in the contemporary photography era. This study focuses on the ever-changing role of personal photographic images in the three typical photography events, i.e., the selfie production, the real-time beautified video sharing on the social media, and the production of deepfake AI face-swaps. The study is inspired by the Deleuze-Guattari’s conceptual framework that is mainly composed of the concepts of minor literature, assemblage, becoming, and de/re-territorialization, and defines personal photographic images as both an assemblage and a constitutive part of larger assemblages, i.e., personal photograph production and usage events. The tetravalent model of assemblages is used as a major analysis toolkit to achieve the research purpose. A thorough analysis and discussion shows the material and expressive components that compose different sizes of assemblages and the emergent capacities. It also discloses how digital photography apps play as a line of flight to de/re-territorialize the presumed representational association between individuals and their photographic images. The images have become one of the multiplicities or becoming of individuals, either interacting with individuals, acting on individuals, or extending individuals’ disembodied experiences. This study seeks to develop alternative theoretical lenses on the role of digital personal photography in everyday life and the rhizomatic experiences that it generates.

Desktop film or computer screen film is a film subgenre with all events and actions taking place on a screen of a computer and using the protagonist’s first-person perspective, exemplified by The Den (2013), Open Windows(2014), Unfriended (2014), Unfriended: Dark Web (2018), Profile (2018) and Searching(2018). This paper mainly focuses on the desktop films with the theoretical framework of “Media Ecology”, aiming to investigate how the desktop film evolves and interacts with new media, digital technology, while influencing communication and spectatorship. Firstly, this paper discusses the evolution of cinema, which evolves through the interaction, co-existence and convergence with other media, as well as corresponds to the anthropotropic trend. Secondly, this paper investigates the digital media and technology in desktop films. “Desktop films” create cyberspaces and reproduce people’s virtual lives, revealing the influences of media technology, which is considered as a double-edged sword. Thirdly, this paper analyzes how desktop film exerts impacts on cinematic communication, while reshaping the spectatorship and audience’s viewing mechanism. “Desktop films” are suitable to be watched on computer, thus making audiences become active and have more autonomy.

We study long-distance trails implemented in United Kingdom and Brazil. We aim to list, comment and discuss the principal elements of its creation, promotion and maintenance. The elements addressed are the following: i) access, accommodation, food and beverage and specialized companies; ii) preservation and signaling, heritage interpretation and infrastructure; and iii) tourist seasonality and festivals and events. The article has, in part, a normative nature; we consider the creation of long-distance trails is a good alternative for several Brazilian cities and regions. We highlight four points: (1) these trails allow the development of leisure and tourism in places that, otherwise, would remain the destination of a small bunch of enthusiasts; (2) it is not enough to implement the trail; it is necessary to preserve and maintain it – this is not occurring in Brazilian cases; (3) the long-distance trails should be promoted with elements that enhance its tourist appeal, such as festivals and heritage centers; (4) cultural and natural heritage are important, but many tourists and visitors are motivated to see and enjoy elements that are seen as banal by the local people, such as sheep grazing in the fields. Keywords: Cultural Tourism; Long-Distance Trails; Constitutional; United Kingdom; Brazil.

O texto situa alguns elementos essenciais na trajetória do Serviço Social brasileiro desde o chamado “Congresso da Virada”, que aconteceu em 1979. Trata-se de revisitar 40 anos de história da profissão, embebida em suas determinações econômicas, políticas e sociais, partindo do contexto do regime autocrático instaurado em 1964, passando pelo  contexto da democracia burguesa alcançada com a Constituição de 1988 e chegando em 2019 num contexto de avanço fascistizante, que traz à tona o ultraneoliberalismo, o obscurantismo, e o ataque à própria democracia burguesa.

O texto apresentado busca refletir sobre a nova conjuntura internacional imposta pela pandemia da COVID-19, colocando o mundo inteiro em isolamento, em tempo de espera. Questiona sobre o lugar em que cada um, individualmente e enquanto sujeitos coletivos, estará quando a pandemia passar, qual sociedade iremos construir e como base em quais valores.

Marcos Caroli Rezende is a chemist, professor and researcher at the Universidad de Santiago de Chile and translator of two manuscripts made in New Spain from classical Nahuatl into Brazilian Portuguese: Cantares mexicanos and Romances de los señores de Nueva España. Cantares and Romances bear witness to part of the pre-Hispanic oral tradition, which was set in the Latin alphabet as a strategy for catechizing the indigenous people after the so-called Conquest of Mexico. In 1995, Rezende published the inedited translations of some chants of the referred manuscripts in “Dezoito cantos náhuatl”, a bilingual work (almost) unknown in Mesoamerican Studies. In this interview, a fundamental translation work is exposed in the dissemination of old Mesoamerican chants in Brazil.