Repositório RCAAP

This analysis proposes the development of the concept of image that calls for problematizing the fields of the visible and the invisible. Through the work of photographer Evgen Bavcar, the possibilities of expression and relationship between images and things that are pointed out in the world are discussed, in addition to the mere idea of representation or of a real reality that would exist as pure materiality. The text goes on to highlight the intrinsic possibilities of relationship between the word and the image and how territories of communication, reception and exchange between visually impaired perceptions and oculocentric perceptions are opened. It is about proposing a type of communication, expressed by a post-image, in which visual impairment is perceived as a possibility of opening up to other world readings, other sensitivities and perceptions. A way of inserting the visually impaired opens up, through exchanges and communications between perceptions of the visible and the invisible.

The Bolsonaro government has reiterated the purpose of privatizing or extinguishing Empresa Brasil de Comunicação (EBC). The present essay, permeated by conceptual indicators and successful international experiences in public communication systems, points to the survival of the company the recurrence to the constitutional principles of the 1988 Constitution, the intervention of the civil society and the application of polyarchic premises, in order to be the paradigmatic state company in the fickle and complicated implementation of public communication policies in the equally unstable national field of the political economy of information, communication and culture.

Raúl Fuentes Navarro, a Mexican professor and researcher, has dedicated himself to studying communication research and the professionalization of the area, in Latin America, in general, and in Mexico, in a specific way. Because of this interest, his investigations are focused on Communication Theories, Communication Epistemologies and Communication Research Methodologies. The decades of dedication to the area led him to publish 26 books, 85 chapters and more than 120 articles in specialized magazines. In this interview, Fuentes Navarro shares some impressions about the challenges of studying communication in Latin American countries.

Throughout Brazilian social and historical formation, the colonizers’ narratives used a lot of stereotyped images from a European and Christian point of view of the African slaves and their religiosity. Even after the abolition of slavery, these stereotypes remained associated with Afro-Brazilian religiosity, being appropriated by journalistic narratives that contributing to reverberate these stereotypes to the present day. This article aims to analyze the stereotypes used by the Rio de Janeiro press concerning Afro-Brazilian religiosity in the 1920s. Based on the theoretical and methodological assumptions of the French School's Discourse Analysis, we took 2 representative texts from 24 that make up the research corpus. The conclusion is that in the narratives analyzed, Afro-Brazilian religiosity is demonized, configuring stereotypes.

The purpose of this article is to recognize the sense of the banality of evil, developed by Hannah Arendt, in contemporary events that occurred in Brazil during the pandemic of the new coronavirus. According to the author, evil is banal because it is practiced by conventional people who refrained from thinking politically, thus, evil arises. Based on that idea this article analyses news published by Catraca Livre Brazilian site and presents reflections on the demonstrations against quarantine and social and physical isolation, suggested by the World Heath Organizations (WHO) to contain the spread of infections. The demonstrations took place in the city of São Paulo and supported the figure of Brazilian President Jair Bolsonaro.

This text sought to find confluences between two movements perceived in the universe of sertaneja music in the last years: in the political scenario, the almost total support of the singers to the candidate Bolsonaro, in the name of the order and the use of arms; in songs, the theme of affective-sexual relationships with an emphasis on the “suffering” bias, the lyrical ego that undergoes separation, faces unstable relations and stronger women. Zizek, through the (Lacanian) concept of point de capiton, helped us to understand the cohesion of disparate ideological elements within a conservative discursive formation delineated by a model of masculinity.

Fact-checking agencies face the challenge of making their checks reach audiences who are unaware, suspicious or hostile to their verification methods. Social networks, a space in which fake news proliferates, can also expand the public of these agencies. This article evaluates the experience of an automated Twitter account created by Aos Fatos agency to identify and interact with users of this social network who publish false information. The robot dubbed “Fátima” scans Twitter to identify posts with links that have already been refuted by the verification agency, and responds to users indicating the error and its correction. This survey seeks to assess which false news was most frequent during the pandemic in 2020, and how users interacted in response to these corrections.

The images of the tarot, as well as those of the comics, are archetypal and appeal to a poetic reason active in the gaps between them, inviting the reader to constant exercises of narrative montages and reassemblies. Based on the foundations of Warburg’s and Didi-Huberman’s studies of image, we enter the poeticity of these images that we consider as dream-images, endowed with imaginative auratic power. We also resort to the concept of poetic reason proposed by Zambrano. The analysis of Frank King's Gasoline Alley strips supports our proposal. We have concluded that the knowledge of the tarot’s images is based on an imaginary language that goes beyond codes and systems of meaning, extending its reach to a latent power, active in the auratic dimension of dream- images. This dimension is also present in the images of comics, whose theorization allows to open up to imaginative skills.

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Through a dialectic and symbolic montage of different dandy images, this article reflects on the contributions Jacques Rancière's theory offers to understand the political legibility of the aesthetic dandy that has crossed temporal and geographical boundaries, even reappearing in contemporary visual culture. At the same time, the article also presents the contributions that dandism itself offers to understand the mutual and inseparable constitution of the aesthetic and the political, synthesized above all in what Rancière calls the distribution of the sensible, even more specifically with regard to the commuter relationship between police and politics, these two distribuicion that would make up the common fractional.

The article seeks to understand the ways in which dialogues with/between representational regimes about cookery are included in the reality show Cook Off – Duelo de Sabores, shown in 2015 by the Portuguese television station RTP1. At the same time, it shows how the production mobilizes and, above all, tensions hegemonic visibilities of the reality show genre. Along this path, we identify tensions related to both the framing of the competition theme and the representations of what we call “cookery as culinary”. Regarding the second point, despite the gastronomized view of cuisine chefs takes a highlighted position, the program presents images that recognize a daily and popular cuisine, in which we can see “arts of making” from day-to-day.

The objective of this article is to understand the (between) place, which has its point of intersection in the image / work and in aesthetic education. We have lived for some time under the sign of hybridism in image and aesthetic education, which implies a timeless passage and chaos in materialities. In other words, a continuous process of (re) interpretation and even (re) invention of human an attempt to stay alive in our thoughts and feelings. With a bibliographic / narrative approach, the intention is to present the image and aesthetic education (between) linked in the boundaries of non-truth and in the underground of displacements, uncertainties and subjectivities, which walk in the dark field of aesthetics. The image hides and (re) appears in multiple senses, redrawing our understanding and non-understanding. In this (un) known territory, ethical, aesthetic and educational relations are crossed, (re) signified in the processes of sensitivities of oneself, the other and the unpredictable world in which we inhabit.

The article aims to study the phenomenon of subjectivity in advertising narratives of cosmetic for women from the company Salon Line. It mobilizes the categories body, gender, subjectivity and consumption as social constructions. This is an exploratory research, a case study developed from a qualitative sample by choice, guided by a comprehensive epistemological approach. The question discussed concerns how such narratives suggest that the consumer individualizes herself, introducing, however, a norm that in reality is external. Preliminary results indicate that the supposed autonomy present in advertising omits the complex process of internalizing external norms.

Having in mind the question “how does becoming establish hybrid relationships between illustration and words in the tale 'Conversa de bois', by Guimarães Rosa”, this article raises reflections on and from a certain indiscernment between visible and sensitive images, both emanating mentally from the text and accompanying it as literary visible illustration. Based on the background built upon the concepts suggested by Krauss and Bellour on expanded field and hybrid relations between image and literature, we propose reflections which are triggered by some apprehensions on the theme, in a sort of daydream dynamic that evokes and relates images to understand a becoming-word and a becoming-writer-sorcerer. The imaginary on the sorcerer and the ox are also interpretative keys that relate the Rosian tale and the book itself as an object to the concepts of witchcraft and becoming-animal, by Deleuze and Guattari.  

This article analyzes the broadcast of two controversial moves involving a video referee in two matches played by the Brazilian soccer team during the 2018 FIFA World Cup in Russia. A single official video feed generated divergent interpretations by commentators on broadcast and subscription-based television. We question the reason for continued disagreements despite the improvements in technology and rules. Based on image theorists as Badiou (2017), Bergson (2006), Didi-Huberman (1998), and Debray (1993), the authors conclude that every image has an interpretative and a subjective character, which rarely allows it to be indisputable when it comes to sport, specifically in soccer.

This article aims to analyze the aesthetic and political dimensions of photographic images of the anti-racist acts and protests that took place in 2020. The objective is to discuss the different figures of violence in the images of protests of the movement #blacklivesmatter and the mobilizations for Black Awareness Day in Brazil, seeking to observe: the experience of violence as motivation of the insurgencies, the violence underlying the gestures of upheaval, the violence undertaken to suppress the uprisings and, finally, the percussive force of the images. Taking these images into account means, from a methodological point of view, not only to criticize the uprisings, but also to propose a criticism of the violence and the way the images operate in the face of the powers and forms of power that cross these manifestations in different directions. The images under analysis, chosen based on their wide circulation, were responsible for synthesizing the emotions of the revolt and witnessing, from the eye of history, the moments when the monopoly of violence is exercised and also put to the test, in which the violence is opposed to violence itself, in which everything burns and the pathos of indignation is not only represented, but also visually expressed.

This work is part of a discussion about the growing use of the term negationism, either in the press or in academic debates published in the media, to investigate the scientific production about the use of the term in the Portal de Periódicos Capes, in Portuguese. Originating in the desire to deny a truth to appease individual afflictions, the expression was born in Freudian psychoanalysis, today designating conduct of a collective character. For the study proposed, bibliographic research, bibliometric strategies and content analysis techniques are adopted in order to ascertain cuttings and concepts accepted in the studies retrieved from that database. The result points to the existence of only 6 indexed works on the Portal, all published between the years 2009 and 2020.

This work discusses the representation of the rogues in different movements of national cinema, in order to inquire about the relationship of this representation with the marginalization and resistance of characters with black bodies. We use the contributions of Michel de Certeau (2007) and Giorgio Agamben (1993) about being any person, in order to identify the situations that compel the rascal's ways of life, such as survival in social spaces. With the identification of this social type in films from different periods, and elements of the trickster in ordinary life and as a symptom of the community that comes, we analyzed Madame Satã (2002) as an update of the character in contemporary Brazil.

This paper intends to analyse the photographs that circulated in digital environments by O Globo and Folha de S.Paulo newspapers during the year 2020 addressed to the theme of education. We seek to understand how those vehicles aproached the precarius conditions from which the students built visual narratives about the lack of access to education in the pandemic context. It is a study focused on the compositional aspects engaged in news photography about the remote education in Brazil, it is also focused in the identity and difference meanings. For this purpose, the content analysis has been used. Therefore, we seek to ground our analysis on constructionist journalism, culturalist, Photography-expression theories, and also in the studies on mediatized society.

The notion of archetype, widely employed in advertising, calls The Court Jester when comedy and humor are used in its language, to encourage absorbing the chaos of the world in an extroverted way. It contains elements with which Mikhail Bakhtin establishes one of the pillars of the Theory of Carnivalization: the medieval laugh. These concepts, although devised in distant times, can be observed in contemporary media for the same purpose. This paper is aimed at analyzing the connection between the Jester archetype and the Bakhtinian medieval laugh in the broadcasts by the producer Porta dos Fundos (backdoor).