ESTÉTICAS DO CONSUMO A PARTIR DO ECOSSISTEMA PUBLICITÁRIO

A pesquisa “estéticas do consumo” integra os estudos do GESC3 pautados no BIP – Banco de Imagens Publicitárias da USP e tem como objetivo entender as recorrências estéticas das manifestações de produtos/marcas, como anúncios publicitários, vitrines, etc., pautados no entendimento dos meeting points (DI NALLO, 1999) e na evidência de que estamos vivendo a “spreadable media” (Jenkins, Ford & Green, 2013). Para entender quais são as tendências estéticas e porque se corporificam de determinadas maneiras, buscamos referências sobre os rituais de consumo (MCCRACKEN, 2003), e as relações entre estética e sociedade (LIPOVETSKY & SERROY, 2013). A metodologia foi composta por chamada criativa online, análise semiótica de peças publicitárias e estudo etnográfico. A conciliação da reflexão teórica e pesquisa empírica, nos permitiu desvendar seis eixos conceituais que expressam esteticamente o consumo.

What Are You Laughing At? Former Brazilian President Dilma Rousseff’s Internet Memes across Spreadable Media Contexts

This article analyses a delimited corpus of Internet memes showcasing former Brazilian President Dilma Rousseff. The theoretical framework is based on studies of memes and Internet memes as phenomena inserted in the online dimension of transmission and cultural production, and principles of the General Theory of Systems. The methodological approach is based on the classification tools developed by Dawkins (1976) to describe memes that spread widely across the digital space (fidelity, fecundity and longevity) and the patterns developed by Knobel and Lankshear (2007) as the main characteristics that contribute to an Internet meme’s spreadability (humour, intertextuality and juxtaposition). These classification tools are applied aiming to select and analyse Internet memes that feature the Brazilian president. The goal of the article is to extract from both classification systems relevant tools for guiding understanding about how certain specific sets of memes connected to Dilma Rousseff became memorable and spreadable within the Brazilian media landscape. The result findings show that the categories and patterns applied to the analysis are not isolated and are not mutually exclusive. On the contrary, they are frequently juxtaposed, which denotes their integrated nature and coherent disposition, corroborating to clarify and identify how certain specific sets of memes spread within the media.

Documentary Horror: The Transmodal Power of Indexical Violence

This article reevaluates critical distinctions between so-called ‘art-horror’ and ‘natural’ or real-world horror to challenge larger modal distinctions between fiction and documentary film and their ostensibly divergent spectatorial practices. It focuses on images of animal slaughter, which traverse boundaries between fiction and documentary, art-horror and natural horror. The indexical force of animal slaughter may displace or undo the metaphorical in fictional horror film, producing a spectatorial wavering between the registers of the figurative and the literal. Shaun Monson’s documentary film Earthlings (2005) demands of viewers a mode of spectatorial discipline derived from the horror film experience. Earthlings and its viewer reaction videos reinvent the collective performance of terror among theatrical horror film audiences for a documentary context and for online media platforms like YouTube. Earthlings functions as a form of spreadable media in which viewers’ horrified reactions are harnessed in the production of knowledge and political commitment.