This paper discusses self-labelling standards as sharing mediators in pirated versions of movies available online. Piracy has existed since the beginning of the film industry, challenging established rules and regulations. The dynamics of digital movie piracy often try to meet viewers' expectations while ignoring any regional and premiere date restrictions. Movie piracy organises its abundant offer by generating a self-regulatory repertoire of labeling standards. In this paper we propose an exploration of social practices related to the ad hoc labeling standards as regulators of a presumed user experience in unofficial versions of the movie Captain America: The Winter Soldier. Lessons for sharing economy regulation, especially in contexts where chaotic social relationships are involved, are identified and discussed.

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This paper's research problem is to analyse the communication actions by the IOC, which involve immersive technology, especially the 360º image capturing, and how these contribute to the understanding of the Olympic Values. The excerpt chosen were the twenty-seven videos with immersive content available at the Olympic Channel in YouTube and in the free app, which required the use of Samsung Gear VR, that were related to the 2018 Winter Games in PyeongChang. The gathering was done between March and May 2018. To verify the recognition of the presence of the Olympic Values, a semi-structured questionnaire was done with 14 students from the Physical Education and the Social Communication courses of Pontifical Catholic University of Rio Grande do Sul. The students watched two videos categorized as: narrative and sportive. As a result, it was noticed that the video with a narrative predominance was the one in which the participants most identified the Olympic Values, whereas with the sportive video the athlete's experience was mostly highlighted, creating more sensorial experiences to the viewers.

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Television and live internet broadcasts coexist with a stream of social network commentary, engaging audiences in more complex ways than traditional ratings can represent, demanding convergent tools to analyze such contemporary media. In this work, we present PeakVis, an interactive tool that syncs a video recording with a responsive line graph representing the total number of tweets from each moment, the top messages, a dynamic word cloud, and a semantic graph showing word correlation. Thus, this novel interactive approach allows the analysis of broadcast highlights identified through Twitter posts peaks. We explored this freely available tool's applicability by analyzing two different case studies: the season finale of a reality show and the final episode of a telenovela. We could observe that it allows us to quickly identify the most relevant segments and grasp the discussed subjects in-depth through the obtained results, showing its value in broadcast analysis.

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The growing use of social networks in Brazil has opened new channels of communication between athletes and fans, sustaining a dialogue in parallel to competition venues and traditional media. This text seeks to identify ways in which the number of followers in the official profiles of Brazilian Olympic athletes in the social networks Facebook, Twitter and Instagram was impacted by their results and their participation in the Rio 2016 Games. A methodology based on grounded theory was developed, consisting on a quantitative analysis of followers´ data evolution in social networks from a set of eight Olympic athletes, divided among gold, silver and bronze medalists, as well as non-winners. Among the verified data, it was possible to identify that the performance of the athletes in the last Olympic Games impacted on the growth of the number of followers in their social networks, with Instagram being the network that featured the biggest increase. Gold medalists had the highest growth rates, but the analysis also showed that one bronze medalist and another nonmedalist athlete had the highest number of followers, indicating that the podium did not leverage alone the online audience. The data made it possible to infer the presence of concepts such as the aesthetic beauty of sports images and the importance of mediatic exposure, besides allowing to deduce the existence of other influential factors in the growth of the Olympic athletes' networks.

Esse artigo analisa as transmissões de dois lances polêmicos com árbitro de vídeo em dois jogos da seleção brasileira durante a Copa do Mundo FIFA 2018 na Rússia, em que uma única geração oficial dos vídeos das partidas motivou interpretações divergentes de comentaristas na televisão aberta e por assinatura. Questionamos o motivo das discordâncias continuadas apesar do aprimoramento de tecnologia e regulamento. Fundamentado em pensadores de teorias da imagem, como Badiou (2017), Bergson (2006), Didi-Huberman (1998) e Debray (1993), os autores puderam concluir que toda a imagem é dotada de um carácter interpretativo e subjetivo, o que raramente a permite ser indiscutível, em se tratando de esporte, mais especificamente no futebol.