International Journal of Film and Media Arts, Vol. 4, Nº. 1 (2019)

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http://hdl.handle.net/10437/10884

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Percorrer International Journal of Film and Media Arts, Vol. 4, Nº. 1 (2019) por assunto "AUDIOVISUAL"

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    Portuguese soap operas : a genre at the crossroads
    (Lusofona University, 2019) Damásio, Manuel José; Costa, Jorge Paixão da; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
    In the context of ever greater circulation of televisual content of all genres and formats, this paper focuses on the intersections between the global and the local to understand how a specific genre – soap opera – was localised in a specific cultural and geographical setting giving origin to a production model that gained local prominence and nowadays faces a number of new challenges. Our general argument draws on the empirical findings of original research on the molding of this specific televisual genre and format called “telenovela”, and the specific production mode associated with it, and reflects on its historical emergence and the contingencies of such a process. Our goal is to identify the variables that allowed this genre to gain local dominance and later achieve international circulation. Following the results of quantitative and qualitative research, we argue that the structure of the local production and distribution settings and the dominant ideology of the associated production culture promoted the emergence of an original local production culture and sustains it until today.
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    Series culture and fandom in Game of Thrones : check-in as an identity marker in Brazil and Portugal
    (Lusofona University, 2019) Vilela, Mateus; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
    Em tempos de mudança tecnológica, a televisão e as mídias sociais estão cada vez mais entrelaçadas. Assistir a uma ficção em série, por exemplo, não é mais uma tarefa solitária e, a partir da popularidade desse formato, essa pesquisa realizou uma análise de conteúdo dos comentários sobre a quinta temporada de Game of Thrones no Facebook e Twitter no Brasil e em Portugal. A partir dos dados coletados, o ato de check-in nos episódios foi sintomático para questões de pertença, afeto e prazer. Portanto, observou-se a existência de uma conexão emocional entre os fãs, além da percepção da série como parte do self, moldando relações e comportamentos.
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    Television as transitional medium
    (Lusofona University, 2019) Mikos, Lothar; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
    The development of television is never complete. It is a medium in permanent change, even if some aspects of television outlasted several decades. Television in the second decade of the 21st century looks different than in the 1950s of the 20th century. The screens are bigger, the picture is colourful, and the reception possibilities are more diverse, even mobile. Since the invention of television in the 1920s, the medium has undergone major changes, both in terms of technology and content. Television can therefore be seen on the one hand as a transitional medium - quasi a medium in permanent transition, because it repeatedly takes up and unites various technical developments. On the other hand, television can also be described as a transmedial medium because it incorporates aesthetic and narrative forms from other media into its programmes and at the same time has developed programme forms that radiate onto other, newer media (e.g. forms of television series form an important content on the Internet as web series or as an offer on streaming platforms such as Amazon Prime Video. Movistar+, Viaplay or Netflix). This double configuration of television as a transitional and transmedial medium makes up its fluid character. In the following, an initial attempt will be made to approach television in order to work out what actually constitutes this medium. Afterwards, the technical and institutional development of television is dealt with, before the development of programme forms is described. Finally, current developments resulting from the digitalization of television are presented.
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    Television reshaped by big data: impacts and implications for Netflix-like platforms in the age of dataism
    (Lusofona University, 2019) Quico, Célia; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
    Television was born analogue, almost 100 years ago: first broadcast across airwaves, then delivered via analogue cable and satellite, to reach millions and millions of people around the world. Like many other industries, television has been under the process of digital transformation, integrating digital technologies in all parts of its value chain, from content production to content distribution. Today, inseparable from the digital transformation process is the large, diverse and ever-growing volume of data created, captured, analyzed and applied – also known as Big Data. Television is being reshaped by Big Data, with newcomers to the industry such as Netflix leading the way, for others to follow - and for others to fail. The concepts of Platform Capitalism, Surveillance Capitalism and Dataism may illuminate many of the challenges faced by the main stakeholders in the television industry, with implications that go much beyond this field. Lastly, Netflix’s impact on the production, distribution and consumption of audiovisual content is still to be understood in a small market such as Portugal: the current exploratory paper is also meant to be the basis of future research in Portugal about internet-distributed television.
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    Televisual archive: imaginary, memory and re-visited social bond
    (Lusofona University, 2019) Bressan, Mario; Moraes, Heloisa; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
    This study aims to expose some thoughts about the reformulation of the social bond constituted with the television, through remembrances evoked among television viewers involving a tele-affective memory and new formats inside audiovisual consumption. In addition to this, it analyses the comments of people that watched a remake of the Brazilian program Cassino do Chacrinha (Chacrinha’s Casino), which aired in 2017 on Rede Globo de Televisão (TV Globo) and Canal Viva (Viva), commemorating the centenary of Abelardo Barbosa, a very important Brazilian TV host who acted between the ’70s and ’80s. Our methodology follows the Content Analysis mobilised by Laurence Bardin (2011) in relation to texts posted on Twitter containing the expression “Cassino do Chacrinha” in August 3, 2017 (aired on Viva) and September 6, 2017 (aired on TV Globo). We want to discuss the relationship between imaginary, memory, and social bond starting from a televisual archive, where we present tele-affective marks of memory through substantial and shared images that appear in these analysed comments.