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Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Angles: French Perspectives on the Anglophone World is the property of Societe des Anglicistes de l Enseignement Superieur and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Se trata de una reseña.

2023-2024: "Sin título" (artilugios - mecanismos). Amaia Lekerikabeaskoa Gaztañaga & Isusko Vivas Ziarrusta.

Copyright of Revista Estudos Feministas is the property of Revista Estudos Feministas and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

O objetivo deste artigo é identificar, com base numa teoria psicoacústica, o tipo de experiência sonora da narrativa The Midnight gospel (2020), abordando-a enquanto elemento que confere profundidade e multidimensionalidade à narrativa. Recorre-se à noção de níveis de realidade e à ideia de sonosfera para analisar o universo sonoro da série, de modo a elucidar o jogo de imersão musical, vocal e eletrônica que põe à prova a atenção da audiência. As conclusões levam a três aspectos importantes do alcance cognitivo, pedagógico e psicológico da série em análise cujo título já prediz que seus autores querem dar uma “boa notícia à meia-noite”. 1) Percebe-se que, se por um lado, a complexidade sonora mergulha o espectador no ambiente narrativo, ela também o convida a um esforço cognitivo de atenção e compreensão que o retira da condição imersiva. 2) Pedagogicamente, medita-se ouvindo música ou pronunciando sons, amplia-se a percepção fruindo variados repertórios musicais; abre-se o corpo à ampliação da consciência e à escuta do daimon. 3) a imersão musical, o retorno à protomúsica e o “efeito sereia” aparecem como estimulantes psíquicos capazes de devolver ânimo e entusiasmo para a própria existência do personagem, mas também, por um processo de identificação, da audiência.

The Newsroom" é uma das referências jornalísticas mais reconhecidas na cultura popular. Este trabalho busca identificar a conexão entre a ficção audiovisual com as rotinas jornalísticas, valores noticiosos e papéis profissionais. Para isso, a pesquisa analisa o discurso multimodal desta série de televisão a partir de uma perspectiva dupla diegética (nível intradiegético e extradiegético). Este trabalho adotou uma abordagem socio-semiótica, com a aplicação do código realizada em três cenas significativas. Através das convenções verbais, cinestésicas e técnicas, foram delimitadas as posições do conflito dramático. Os resultados mostram que o tema principal trata da seleção de fontes de informação e valores noticiosos. Além disso, as ações dos personagens revelam a confrontação e a deliberação por meio dos papéis dominantes de "cão de guarda" e "entretenedor" da opinião pública.

The book Streaming Television, Necromedia, and Gore Capitalism: exploring the series Dahmer - Monster: The Jeffrey Dahmer Story problematizes the visibility of extreme crimes, the mediatization of violence, and the celebrating culture of abject figures. Divided into essays, the text addresses various themes presented to the viewer, such as the cult surrounding Jeffrey Dahmer, audience reception, and platform capitalism. This review focuses on two aspects that contribute to communication research: the diverse perception of collective authorship and object-oriented analysis, which captures a phenomenon based on its conditions of possibility and generated effects. The authors argue for a specific possibility of work in our field based on the perception that extreme acts possess an intrinsic "communicability". [ABSTRACT FROM AUTHOR]

Copyright of Epistemus. Journal of Music, Cognition & Culture Research is the property of Facultad de Psicologia Universidad Autonoma de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Une tendance internationale, relativement récente dans les nouvelles pratiques culturelles massives, est la prédominance et la démocratisation des plateformes de streaming audiovisuelles ou de vidéos à la demande. Par conséquent, un des défis actuels de l’enseignement est de nous rapprocher de ces nouveaux outils et contenus. Les séries ou les films sont des ressources pédagogiques actuelles accessibles à toutes et tous, de plus, elles peuvent s'intégrer facilement en classe de langue et donc également en classe de français langue étrangère (FLE). Sur n’importe quelle plateforme est disponible une grande variété de séries, de cinéma de fiction ou non-fiction francophones, en langue originale. Par conséquent, ces produits culturels audiovisuels deviennent des ressources pédagogiques attractives aux yeux des apprenant.e.s, qui nous permettent de leur présenter un document authentique en immersion culturelle et linguistique, en plus de sortir de l'apprentissage traditionnel mais aussi de développer des compétences culturelles et interculturelles. Par ailleurs, il paraît intéressant de proposer un apprentissage en relation directe avec la vie sociale et les loisirs. Ainsi, l’introduction et l’exploitation de ce type de contenus sert à augmenter la motivation intrinsèque et l’intérêt de la part des apprenant.e.s pour la langue. Le fait de s’appuyer sur du matériel proche de nos publics produit plus de liens avec elles/eux, et ces types de supports ancrent leur apprentissage dans la réalité quotidienne et impulsent également leur apprentissage autonome de la langue.

Cet article interroge les antagonistes des animés PSYCHO-PASS et Terror in Resonance en tant qu’actants narratifs, émotionnels et éthiques. Ce travail s’inscrit en analyse filmique et se fonde sur les recherches d’Hiroki Azuma. Plus précisément, il invoque sa méthodologie fondée sur le système de la base de données ordonnant les « éléments d’attraction », qui soutiennent son analyse des personnages fictionnels nippons dans un contexte de réception transmédiatique. Nous tâcherons d’appliquer ce dispositif plus précisément aux antagonistes afin d’expliciter ce qui les distingue d’un point de vue formel, et de le prolonger à l’échelle de l’écriture et du montage de ces productions sérielles. Nous pourrons dès lors mettre en lumière de quelle manière des systèmes de personnages codifiés structurent des fictions où l’ennemi premier devient séduisant dans les valeurs qu’il soutient ou dans l’irrégularité qu’il incarne.

Objective: This study investigates subjective and objective interaction processes expressed in the series that can foster the construction of representations of girl power today. Methodological design: To do so, I conducted in-depth interviews with individuals who call themselves fans of the series and analyzed journalistic materials published in digital media vehicles that link the concept of girl power to the series' imaginary. Results: The results were interpreted in the light of intersectional feminism and critical marketing. I observed that the act of placing women at the center of narratives represents a shift in contemporary dramaturgy. Research limitations / implications: It is not possible to conclude that this series is feminist, as highlighted by some interviewees. This divergence arises due to conceptual mismatches between female empowerment; post-feminism; neoliberal appeals; the attitude of the characters; and those responsible for the construction of the series observed during the analysis of the study. Originality: The study unites theories from different theoretical heritages, thus stimulating different perspectives and interdisciplinary openings to understand contexts that connect marketing, consumer behavior, and consumption to feminist studies. Furthermore, it stimulates the development of critical thinking capable of impacting societies, organizations, institutions, and consumption focused on the debate. [ABSTRACT FROM AUTHOR]

Copyright of Sigmae is the property of Universidade Federal de Alfenas (UNIFAL-MG) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Le présent article propose une analyse de la représentativité criminelle dans la série italienne Suburra et des enjeux qui l’accompagnent. Ainsi, en s’attachant à observer à la fois les modalités narratives, la scénographie et les interactions entre personnages, la démonstration vise à montrer combien la fiction met en scène la dimension éthique. Pour cela, nous avons pris le parti de nous focaliser d’abord sur la figure d’Amedeo Cinaglia dont le parcours conduit le spectateur à voir se matérialiser à l’écran un irrémédiable glissement, de l’intégrité à la criminalité. Par la suite, nous nous sommes intéressés au duo emblématique de la série représenté par Aureliano et Spadino qui, selon nous, symbolisent une forme d’humanisation du tragique, suscitant ainsi l’empathie du spectateur.

A television series is a dynamic object, likely to undergo multiple evolutions between the beginning and the end of its broadcast. Each season, each episode, each scene, even each shot, can shed new light on a series as a whole – and, in the most extreme cases, call into question its interest as such in the eyes of viewers and critics. Yet the re-evaluation of yesterday’s successes seems to be accelerating under the influence of an overabundant production and a simultaneous expression of opinion between professionals and amateurs. This study aims to put into perspective the different criteria selected (more or less consciously) by American critics to establish that a series has “tipped” over to the other side, after having been dubbed and covered with praise.

L’article présente un genre particulier de récit, le feuilleton médiatique. Il s’agit d’articles de presse qui suivent un événement réel (p. ex. un conflit, une affaire, etc.), provisoirement inachevé ou incomplet, et dont la narration se poursuit au-delà du numéro quotidien. L’information tend ainsi à s’inscrire dans une série qui finit par prendre les contours d’un véritable feuilleton, avec son nœud, ses rebondissements et son éventuel dénouement. Ainsi, loin de fournir un récit atomisé constitué d’unités discrètes et autonomes, le feuilleton médiatique apparaît partiellement structuré et suit une logique séquentielle alternant mises en tension et résolutions de l’intrigue, liages en aval (anaphore, rappels, identifiants) et en amont (cataphores, hypothèses sur la suite, etc.). Dès lors, en l’absence d’une instance narrative centralisée qui aurait pour tâche de planifier l’intrigue, le feuilleton médiatique invite à s’interroger sur la nature de cette « intrigue naturelle » qui émerge au cœur du quotidien, et il nous conduit à reconceptualiser cette notion théorique centrale, aussi bien pour la linguistique textuelle que pour la théorie du récit.

Copyright of Comunicação Pública is the property of Escola Superior de Comunicacao Social and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Letras (0326-3363) is the property of Pontificia Universidad Catolica Argentina and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Ondina - Ondine is the property of Universidad de Zaragoza and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Ondina - Ondine is the property of Universidad de Zaragoza and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of FLAMME is the property of Universite de Limoges and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Mediterranean Journal of Communication / Revista Mediterránea de Comunicación is the property of Revista Mediterranea de Comunicacion / Mediterranean Journal of Communication and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Using the example of a study on series as tools for promoting sexual health, this article examines how research can enrich caregiving practice, highlighting its contribution to a decentralized, more reflective approach to care, while helping to develop expertise. Practice also provides research with an ongoing connection to reality in the field., Competing Interests: Déclaration de liens d’intérêts L’autrice déclare ne pas avoir de liens d’intérêts., (Copyright © 2024 Elsevier Masson SAS. All rights reserved.)

Silva Nogueira - a série enquanto discurso moderno

La revolución digital y la llegada de Internet han configurado un nuevo escenario de recepción de la ficción televisiva, favoreciendo la aparición de un consumidor más activo (prosumer), que elige entre una amplia oferta de entretenimiento. Estos hechos han incidido en la producción audiovisual, que ha empezado a ofrecer narraciones transmedia para responder mejor a las demandas de estos espectadores. En este artículo repasaremos en qué consisten estas narraciones, sus características principales y estableceremos un intento de categorización de las extensiones transmedia empleadas por las series, atendiendo a algunos de los ejemplos más representativos de la televisión actual.

O presente artigo propõe uma análise das cenas de explosões nucelares nas séries Twin Peaks (2017) e Chernobyl (2019), comparando-as com a representação das imagens nucleares em outros filmes, sejam documentários ou de ficção. O objetivo é entender como essas duas séries exploram e configuram o medo da destruição, de certa forma prenunciando o momento de tensão atômica atual decorrente das ameaças russas feitas após a invasão da Ucrânia. Para isso, iremos nos servir principalmente dos estudos de Evans (1998) e Puiseux (1998, 2009, 2020) para construirmos um panorama da representação da bomba no cinema, assim como nos apoiar no conceito de circuito de sensações de Jervis (2015) e da ideia de irrepresentabilidade da bomba defendida por Anders (2011).

Copyright of Revista Estudos Feministas is the property of Revista Estudos Feministas and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The series Snowpiercer (2020– ) deals with the social restructuring processes on board the ›Snowpiercer‹. This paper investigates the socio-political structures of the train and the modalities of the protagonists’ ethical decision-making. In a world frozen to -120°C, the last humans seek to survive on this 1001-wagon-long train, whose constant movement is the guarantor of the energy supply necessary to withstand the cold. The series takes up collective ethical questions and discusses them within the framework of a dystopian scenario. In doing so, the series confronts two antagonistic heroes, whose actions are emblematic of two completely different ethical world views. While Andre Layton strives for social justice and freedom for the train’s underclass, Melanie Cavill pursues a system-ethical approach that gives top priority to the smooth running of operations. The study will emphasize a gender studies perspective as the invention of Cavill as a female leader is of particular interest for the analysis of decision-making.

Copyright of Comunicação, Mídia e Consumo is the property of Escola Superior de Propaganda e Marketing and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Esferas is the property of Esferas and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

No dia 9 de agosto de 2019, a plataforma Netflix divulgou a primeira temporada de Sintonia. Dividida em seis episódios, a série conta a história de Doni, Nando e Rita, três jovens que estão construindo suas vidas através do funk, do tráfico de drogas e da religião, respectivamente, na Vila Áurea, Zona Leste de São Paulo. Produzida por KondZilla em parceria com Los Bragas, a série discute temas urgentes dentro dessa periferia paulista, contudo, para além disso, a história pretende romper com alguns estereótipos e, ao mesmo tempo, mostrar a realidade “de dentro” da favela, conforme argumentaremos ao longo deste trabalho.