Este artigo analisa as mediações culturais resultantes de referências musicais e da participação do cantor e compositor Paulo Miklos e do rapper Sabotage no filme O Invasor (2001) dirigido por Beto Brant. O objetivo é enfatizar as dinâmicas da interação entre músicapopular e cinema, um tema que continua pouco explorado em estudos do audiovisual. A análise aponta que o encontro musical e cinemático de Miklos e Sabotage é sintomático da simbiose entre música e cinema que caracteriza muitos dos filmes brasileiros recentes. Além disso, a presença dos músicos e de suas composições no filme funcionam como elementos de apelo popular e mediam a comunhão estética e as tensões entre centro e periferia que afetam grandes cidades como São Paulo no momento contemporâneo.
cinema imersivo, design de interatividade, realidade virtual, Vídeo 360º, VR interativo O presente artigo busca dar uma contribuição ao debate sobre cinema imersivo interativo, enfocando as possibilidades colaborativas da abordagem metodológica fuzzy front end na criação de interfaces para conteúdos em vídeo 360 o realizados no âmbito da Escola de Comunicação da UFRJ. O conteúdo imersivo proposto oferece ao usuário uma experiência audiovisual que explora a linguagem hipermidiática. Instaura-se assim uma confluência entre design de interatividade e cinematic VR no desenvolvimento de obras técnico-artísticas que promovem o engajamento do interator na experiência imersiva e na construção de caminhos narrativos. immersive cinema, interactive design, virtual reality, 360º video, interactive VR This article aims at contributing to the debate on interactive immersive cinema, focusing on the collaborative possibilities of the fuzzy front-end methodological approach for the creation of interfaces for 360 o video contents within the scope of the School of Communication at UFRJ. The proposed immersive content offers the user an audiovisual experience that explores the hypermedia language. A confluence between interactivity design and cinematic VR is thus established in the development of a technical-artistic oeuvre that promotes the interactor's engagement in the immersive experience and in the construction of narrative paths.
From 2020, due to the COVID-19 pandemic and its aggravation, the whole world turned to the transfer of information, that is, from the onsite to the distance learning modality, which involved a series of technological adjustments and mechanisms. However, such mechanisms of assisted technology are not recent, and it is possible to get a detailed observation over more than two decades of development of the most different possibilities and formats. Currently, adhesion is massive in everything that involves the virtual learning environment, and much is discussed about all stages of the processes. Thus, this article aims to demonstrate the importance of internationalization in the context of distance learning, through the analysis of a case study that consists of a set of partnerships involving the Training Institute of Portuguese Speaking Countries (Portugal), the Federal University of Rio de Janeiro (Brazil), through its School of Music and School of Communication, and the Arts National Foundation (Brazil), when conducting a course in Photography and Digital Image. This was the first product of the partnership between the institutions in this context, and because it was a success, the decision was made to report, through this article, its development, and the respective results obtained.
Also available online-brill.nl BEYOND STEREOTYPE AND COMEDY The 'Pop' and the 'Modern' Brazil on Screen* The Northeast of Brazil has historically been stereotyped as the antagonist of the wealthy and 'modern' Southeast. Although considerable attention has been paid to recurrent depictions of the Northeast in Brazilian cinema, a detailed study that pinpoints the stereotypes associated with the region but looks beyond them to discuss the nuances of the actual geographical, socio-cultural and political space in cinematic depictions remains to be done. This article argues that such a study can illuminate profound ruptures of a supposed national unity and also can point to current strategies of reconciliation. The argument evolves around the metamorphosed Northeast depicted in a recent popular Brazilian comedy, Lisbela e o Prisioneiro (Lisbela and the Prisoner, 2003). The aim is to demonstrate that the fi lm conveys a very clear political message beyond the obvious popular appeal of the comedy genre. Au-delà des stéréotypes et de la comédie Le Brésil « Pop » et le Brésil « moderne » à l'écran * This article is part my PhD research (University of Southampton, 2008) with the support of CAPES (Coordenação de Aperferiçoamento de Pessoal de Nível Superior). katia augusta maciel (2003). O objetivo da discussão é demonstrar que o fi lme transmite uma clara mensagem política além do óbvio apelo popular do gênero de comédia. 1 The fi lm was shown in the offi cial selection Un Certain Regard in Cannes 2005 and won a National Education Prize. It was also chosen by the Brazilian authorities to represent the country in the Oscars, but unfortunately was not nominated by the North-American Academy.
O documentário interativo “O que a baía tem?” (2017) aborda questões meteorológicas e cotidianas daconvivência com o lixo visível e invisível na Baía de Guanabara, Rio de Janeiro. No filme, pescadores,moradores, pesquisadores e atletas mostram como é a relação com a natureza apesar da poluição numa das áreasmais icônicas do Brasil. A obra resulta de uma colaboração entre a Escola de Comunicação (ECO) e o Institutode Geociências (IGEO) da Universidade Federal do Rio de Janeiro. Este artigo relata a experiência de criaçãodeste documentário interativo para debater estratégias de inserção e difusão de conhecimento por meios digitais,explorando tecnologias e linguagens da comunicação para propor novas dinâmicas da experiência geográfica.Propõe-se que a criação audiovisual interativa potencializa os pontos de acesso do público externo aoconhecimento gerado e debatido por pesquisadores e colaboradores do IGEO.
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