https://repositorio.ufba.br/handle/ri/11226 Sun, 17 May 2026 05:09:39 GMT 2026-05-17T05:09:39Z https://repositorio.ufba.br/handle/ri/42700 Os shippers de Once upon a time: disputas interpretativas e comunidades de recepção Pontes, Enoe Lopes Gomes, Regina Lucia The present dissertation seeks to understand and prove the hypothesis that the act of twisting by a romantic pair in a fiction can be considered as an instance of reception, because these groups form Interpretative Communities, based on the concept of theorist Stanley Fish (1992). From the fan groups of the series Once Upon a Time (OUAT, 2011-), our work follows the author's logic by putting the fans by couples as a meaning-making group, in which these communes would enter into disputes to validate the their interpretations, based on arguments that guide their logics, are the past experiences, struggles and ways of recognizing the world, especially in matters of gender and sexuality. The clash between them is also observed and analyzed from communicative concepts that speak of the behavior of the contemporary con-sumer public. Within the speed and quantity of information propagated daily within the inter-net, the phenomenon named "Jenkins, Ford and Green" (2015), of "spreadable media", is con-figured. In order to understand the functioning of the analyzed individuals, we use the "partic-ipant observation", along with the studies acquired in the bibliographic review. The follow-up of the data collected for this research happened in three groups of the social network. It is within this context that the discussions, afflictions and affections of the viewers of the series chosen as object of study spread and gain importance for their original filmmakers. The pre-sent study seeks to understand and understand the particularities of the fans and of OUAT. Universidade Federal da Bahia Dissertação Sun, 18 Feb 2018 00:00:00 GMT https://repositorio.ufba.br/handle/ri/42700 2018-02-18T00:00:00Z https://repositorio.ufba.br/handle/ri/42628 Experiências Queer nas Cinematografias Africanas: Possibilidades Analíticas entre a Representação e o Figural Costa, Thaís Vieira Ribeiro, Marcelo Rodrigues Souza This dissertation investigates sexual and gender dissidences in South African and Kenyan contexts through the analysis of three contemporary films: Inxeba – The Wound (2017) and Heaven Reaches Down to Earth (2020), from South Africa, and Stories of Our Lives (2014), from Kenya. The research starts from the recognition that dissident experiences existed in the pre-colonial period (Murray; Roscoe, 1998), although they have been silenced by normative discourses throughout history. Two dominant imaginaries prevail in narratives about these experiences on the continent: that of structural homophobia and the interpretation of queerness as a Western import (Ekine; Abbas, 2018; Rea et al., 2018). Based on film studies, with emphasis on representational analysis (Hall, 2016) and figural analysis (Brenez, 2023), this dissertation examines how queer African cinemas articulate these experiences through visual, symbolic, and narrative elements, addressing issues such as desire, identity conflict, corporeality, nature, and pleasure. It also considers the contexts of production and reception of the works, as well as other artistic languages, such as photography and literature, that dialogue with the films. The central aim is to identify how the figural resources in the films challenge normative conceptions and construct new images of dissident identities on the African continent. Ultimately, the study reaffirms the role of cinema as a powerful language in shaping subjectivities and expanding contemporary discussions on gender and sexuality. Universidade Federal da Bahia Dissertação Fri, 28 Mar 2025 00:00:00 GMT https://repositorio.ufba.br/handle/ri/42628 2025-03-28T00:00:00Z https://repositorio.ufba.br/handle/ri/42109 Fontes de notícias na era das redes: o X (Twitter) como gerador de pautas sobre o Big Brother Brasil Cerqueira, Ana Carolina Faria Pedreira de Vieira, Lívia de Souza The reality show Big Brother Brasil (BBB), broadcast by TV Globo, fosters the phenomenon of second screen, also called Social TV and backchannel, by building a parallel program on social media, especially on X (Twitter), which has a strong affinity with the concept due to its characteristics and tools. Based on reflections on what this scenario proposes for the press, this dissertation focuses on the journalistic coverage of BBB by Folha de S.Paulo in the years 2022, 2023, and 2024. The hypothesis established is that X sets the agenda for journalistic production, being institutionalized in the news creation process. To test this hypothesis, answer the question about the role of X in this coverage, and achieve the overall objective of understanding how discourses created on X about the reality show influence Folha de S.Paulo, three pillars were established. First, a bibliographic research was conducted to study X, digital journalism, and what becomes news, with an emphasis on the transformations in the concept of agenda-setting and the impacts of metrics analysis. Second, 296 articles from Folha de S.Paulo covering BBB 22, 23, and 24, that included the word “Twitter,” were analyzed to construct a table. Third, interviews were conducted with three reporters and two editors from Folha de S.Paulo. Through this methodological triangulation, the research confirmed the hypothesis and concluded that X shares protagonism with the pay-per-view in the journalistic coverage of BBB, not only being used for generating the agenda but also for collecting information, photos, and videos during the reporting stage. Similarly, it is also used as a source provider (users who publish comments about the show), incorporated into articles through the transfer of excerpts and/or embedded posts. In this context, the research highlights the importance of trending topics in the agenda-setting process, which indicates a strong newsworthiness potential for topics and events that go viral, and simulates platformized editorial meetings that signal the weakening of traditional editorial meetings. As an observer of the second screen phenomenon and producer of articles based on this repertoire, the journalism analyzed in this research, therefore, provokes new understandings about the term third screen. Based on BBB and Folha de S.Paulo, the research aims not only to capture a picture of the current moment but also to reflect on the past, present, and future of journalists' use of X in the news production process. Universidade Federal da Bahia Dissertação Tue, 11 Mar 2025 00:00:00 GMT https://repositorio.ufba.br/handle/ri/42109 2025-03-11T00:00:00Z https://repositorio.ufba.br/handle/ri/42046 Bahia Brown: traduções da soul music norte-americana pela música afro-baiana Nascimento, Pedro Cordeiro Nakagawa, Fábio Sadao This research investigates the translation relationship between Afro-Bahian music and North American soul music, with particular focus on the analysis of musical, thematic and discursive elements. This study is based on the concepts of cultural text, modeling systems and informative and creative memory (Lotman, 1996, 2021), in addition to semiotic translation (Machado, 2003), to understand, from the perspective of the semiotics of culture, how the musical dialogue between two distinct black cultures happens. Another concept used is the rhythmic clef (Leite, 2017), to mainly understand the peculiarities of Afro-Bahian music. The methodology is based on the analysis of seven songs by bahian artists, recorded between 1973 and 2020: “Glorioso Santo Antônio” (Antônio Carlos e Jocafi); “Babá Alapalá” (Gilberto Gil); “Adarrum” (Moraes Moreira); “Alegria da Cidade” (Margareth Menezes, composed by Lazzo Matumbi and Jorge Portugal); “A Namorada” (Carlinhos Brown); “Festa” (Ivete Sangalo, composed by Anderson Cunha); and “Recado” (Luedji Luna). The analysis started from the search for characteristic cultural elements in each of the songs, whether of a sound/musical nature or thematic. The choice of this route aims to identify the different languages articulated by each of the selected works, with the consequent presentation of the elements that have greater or lesser regularity, throughout the chosen historical context. From the analyzes carried out, it is concluded that the subgenre of North American soul music most translated over the time has been funk-soul, present in both dance and affirmative songs. Of Afro-Bahian music, the language that features most prominently in the works is the musical language of Candomblé, present both in the instrumental and in the lyrics of the songs, through the adoption of its respective mythological universe as a thematic basis. The analyzes made it possible to identify rhythm as a central element in the process of translating soul music into Afro-Bahian music, something that highlights the drum language operating as a primary modeling system. Universidade Federal da Bahia Dissertação Tue, 18 Feb 2025 00:00:00 GMT https://repositorio.ufba.br/handle/ri/42046 2025-02-18T00:00:00Z