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Este artigo aborda o futuro do trabalho como fenômeno comu-nicacional, por meio de sua análise como construção discursiva. Elegemos como objeto dois relatórios, dois documentos prospectivos: um assinado pelo World Economic Forum — talvez o maior porta-voz do capitalismo global — e outro da corporação Dell Technologies, expoente da economia digital mundial. Buscamos identificar de que forma esses discursos sobre o futuro do trabalho mobilizam códigos hegemônicos do neoliberalismo, compreendido como lógica social. Essa lógica pressupõe a produção de sujeitos, por meio de competências, perfis, como capital humano a ser gerido com eficácia. A metodologia é baseada na noção de discurso social de Angenot — que propõe a análise do espírito do tempo em sua disseminação nos discursos de dado contexto histórico e social.

This paper proposes to think of another possible story told by photographs about the Revolt of 1924, understanding them as different narratives about the event in question. In this sense, it studies the transgression of the traditional concept of photography as a document of reality. It is observed that photography promotes another type of narrative that goes beyond the record as historical documentation. For this, the paper is based on concepts and reflections brought by various authors, such as Carlo Ginzburg on the concept of trail, François Dosse e Mauricio Lazzarato, about the concept of event, Joan Fontcuberta, Vilém Flusser and Walter Benjamin, who permeate the discussions about photography, Lucrécia D´Alessio Ferrara, on the issues related to communication, in addition to the bibliography on the Revolt of 1924.

The title of this paper is a play on words re-working the word democracy into demos-crazy. This re-working however is not a joke as the election of authoritarian illiberal candidates in the United States, the Philippines, Hungary, Turkey and Brazil (to name but a few) has called into question the future shape of politics. Electoral politics is under siege by new parties as well as spontaneous movements. There are fundamental questions which need to be addressed. What are the reasons for the rise of right-wing populism? Is populism undemocratic? What has been the role of social media and ICTs in helping to create a new political spectrum? Politically and socially what does it mean if we have entered a post-truth age? The demos has not become crazy but democracy is certainly in retreat. This paper argues that liberalism needs to construct an honest counter-narrative in contrast to the fear-mongering and false nostalgia of the right. The rhetoric of the right is opportunistic, but it would be a fatal mistake to dismiss its appeals. After all, it has won elections. The demos is not crazy, but has been ignored and in many cases left behind. Positive populism is grounded in human dignity and fairness. This is the essence of democracy.

This paper aims at investigating the imaginary of the sea and its marine creatures in Vilém Flusser’s thought, especially in his most peculiar book, Vampyroteuthis Infernalis. This essay uses the ocean as a poetic metaphor to express the universe of digital technologies and its contemporary technical flows. The paper’s goal is not only to show the radical originality of Flusser’s book but also to demonstrate its actuality and almost prophetic dimension by means of a dialogue with other contemporary themes and authors in the field of cultural theory. According to the reading suggested here, Vampyroteuthis Infernalis represents a fundamental philosophical reflection on the theme of identity in connection with technological devices and digital culture.

Feminism, motherhood and the media - historically close relations in review – We start from the premise that motherhood is a social construct increasingly linked to communication processes, especially in the voluptuous offer of advice and guidelines of what is to be a mother. Taking on from this idea, this paper seeks to situate such debate. Based on the main approaches about motherhood in feminist studies, the paper presents a state-focused approach of this research in Brazil, bringing attention to three thematic-theoretical axes and to potential topics yet to be explored in media and motherhood studies.

(What can) curatorial work create? - Considering the consolidation traces of the curator’s profession in the last decades, as well as the dissemination of its modus operandi for beyond the traditional field of art, this paper aims to identify the causes that lead us to speculate about the emergence of a possible curatorial language, which would consolidate whether as a reaction to internal transformations of art making, or due the influence of new media’s operational logic. By approaching different aspects of curatorial practices, this paper intends to outline some elements that allow to think critically about the curator’s symbolic autonomy.

Semiotics in music streaming environments: mind, learning and continuity – Based on the notions of agency (Deleuze and Guattari) and semiosis (Peirce), this paper discusses a study of the hybrid forms of interaction between interfaces and human agents in the music streaming environments LastFM, Grooveshark, and Deezer. The Peircean model of semiosis is taken as the conceptual framework to explain how the hybrid forms of agency interact at the interface between humans and machines. This paper proposes the notion of “semiotic agency” as a conceptual tool in the study of the learning processes whereby machines acquire knowledge about human preferences and decisions and are able to transform them into recommendations. The relationship of continuity between human minds and interface agents is discussed from the Peircean perspective of synechism and semiosis as a continuous process.

This paper discusses the concepts in the work of the Czech-Brazilian philosopher Vilém Flusser (1920-1991), regarding the terms dialogue and discourse in the communication processes and it questions how these notions could be a resource for the study and the practice of comprehension. Based on the author’s autobiography (FLUSSER, 2007), published with the German title Bodenlos (with no ground or no foundation), this work investigates Flusser’s autodidactic background, which took a major influence in his life and in his work when in dialogue with a group of interlocutors, being eleven of them mentioned in the aforementioned book. This paper also includes the notions behind the (tense and comprehensive) dialogue with the world one lives in, the essay as a means to express ideas and speaking and writing as options for engagement. As well as Flusser’s goal was to provoke new thoughts and to amplify conversations; this text presents how his concepts could collaborate to a comprehensive epistemology of the Communication’s universe.

The paper analyzes the creative process of David Perlov’s cinematographic diaries and focuses mainly on his Brazilian experience. The paper analyzes how the lmmaker’s script makes a double- sided surface of the images of memory - such as the Moebius band - that goes from the inside to the outside, from the subjective experience to the social and historical experience.

In this paper we intend to identify an emergent discursive phenomenon in the city of São Paulo: the bike activism. It rises from a medley of disconnected voices towards an “articulated speech”, in the discursive eld about the meanings of the urban mobility. The bike activism constitutes a new subject position insofar as it defies, as an antagonism, the stabilized discourse related to the hegemony of the individual motorized transportation. The paper is divided into four sections: a) a description of the automobile city as a semantically normalized horizon; b) the conceptualization of politics as an articulation of speech, in Rancière terms; c) the discursive analysis of texts published in bike-mobility specialized websites; d) considerations about the partial re-absorption of the cycling into the symbolical equivalence chains of liberal-capitalism.

This paper analyzes the ways the photography (as a remembering device) is put into play in three recent movies of Brazilian cinema, understanding it as a trace of the presence of something that has already become absent. The aim is to discuss how images taken from family albums can support the narrative construction that unfolds the life of ordinary men and women, either realistic or imagined by the documentary. Moreover, based on different methodologies, this paper examines the political and aesthetical exercise of a lm-making. This analysis exposes the weaknesses and possible frustrations in the reconstruction of the remote (the character's point of view) and the unknown (the authors' point of view), even if the image in the act of remembrance is materially present.

Considering the consolidation traces of the curator’s profession in the last decades, as well as the dissemination of its modus operandi for beyond the traditional field of art, this paper aims to identify the causes that lead us to speculate about the emergence of a possible curatorial language, which would consolidate whether as a reaction to internal transformations of art making, or due the influence of new media’s operational logic. By approaching different aspects of curatorial practices, this paper intends to outline some elements that allow to think critically about the curator’s symbolic autonomy.

O livro reúne oito artigos e resumos de trabalhos desenvolvidos por jornalistas e professores do Brasil e de Portugal que compõem a Rede de Pesquisadores em Telejornalismo. Os trabalhos avaliam as rotinas de produção e a linguagem utilizada no jornalismo televisivo, buscando relações dessas práticas com suas implicações políticas, sociais e econômicas no contexto da mídia como um espaço privilegiado de construção social da realidade. Palavras-chave: telejornalismo; televisão; edição Abstract: The routines of journalism — This book contains eight articles and abstracts of papers written by journalists and professors in Brazil and Portugal, who make up the Telejournalism Research Network. The papers evaluate the routines of production and language used in television journalism, seeking relations between these practices and their political, social and economic implications within the context of the media as a privileged space for the social construction of reality. Keywords: telejournalism; television; edition

Este artigo discute o modo pelo qual a televisão brasileira construiu Elis Regina como ator televisivo. Parte da idéia proposta por Augusto de Campos e Caetano Veloso de que Elis foi a primeira cantora efetivamente produzida pela televisão brasileira para investigar semioticamente o que aqui se denomina mundo televisivo. Este estudo aborda, ainda, as articulações entre gêneros, subgêneros e formatos como níveis que tecem as malhas do propriamente televisivo. Palavras-chave: mundos televisivos; audiovisualidades; imagem-música; semiótica; Elis Regina Abstract Elis Regina and Brazilian televised music - This paper discusses how Brazilian television built singer Elis Regina into a television actress. Starting from the idea proposed by Augusto de Campos and Caetano Veloso that Elis was the first singer effectively produced by Brazilian television, this paper makes a semiotic investigation into what is known as the world of television. This study also discusses the articulations between genres, subgenres and formats as levels that weave the mesh of television itself. Keywords: world of television; audiovisualities; image-music; semiotics; Elis Regina

The 2010 remake of the horror film A Nightmare on Elm Street focuses on the earthly abuses committed by the now confirmed pedophile Freddy Krueger. The fact that the victims of Krueger’s sexual assaults start get- ting murdered in their sleep is relevant to the trauma studies, as nightmares are one of the most common symptoms observed in people diagnosed with Post Traumatic Stress Disorder. Therefore, one of the goals of this paper is to analyze the ways in which trauma is portrayed in the movie. Considering that the teenagers can only overcome Krueger — and therefore, their trauma — once they are able to witness the terrible events of their past, this work also aims at observing and discussing the trajectory that allows the protagonists to survive. In order to meet these goals, some central concepts to trauma theory are presented and discussed in relation to their portrayal in the film. The analysis shows that the main character Nancy can only defeat Krueger once she knows everything that has happened in the past and is able to have agency in the story.

This study aims at analysing the main developments in foreign reporting of Latin America by the German press. The paper provides a content analysis of 3.831 articles published in quality German publications (SZ, FAZ, Der Spiegel, and taz) between 2000 and 2014. The most common news factors related to the continent are found to be “magnitude,” “power status,” “economic proximity”, and “personification.” Additionally, we identified a decrease in hard news over the years (6 pp within Politics and 8 pp amidst Economy). Despite depoliticisation, a tendency towards tabloidisation was not confirmed since factors such as personification and crisis remained constant.

Planetary ecological crisis and its anthropogenic causes made geology emerge in distinct knowledge fields since the acknowledgement of the geological Anthropecene era. In the field of media studies, this emergence is based on media ecology and archaeology thinkers such as Siegfried Zielinski, Matthew Fuller and Jussi Parikka. This paper, accordingly, will address this context of references and subjects highlighting how art is recognized as a pillar for its epistemological potential, to deal conceptually with media affordances in their ecological relations.

This paper briefly examines the history and the operational underpinnings of forms of volumetric reconstruction based on the capture of visual data, particularly photogrammetry. Photogrammetry is one of the chief techniques currently employed in the production of virtual replicas for heritage conservation. The computational realism resulting from this process induces us to believe that it is possible to recover the totality of an object from its media traces. We mean to challenge this technological promise by referring to artistic projects that explore the idiosyncrasies of photogrammetric models.

The paper reviews Verón’s work, in particular his theories of mediatization, of the circulation of meaning (communication) and of enunciators and enunciatees (institutions, media, collectives of individual actors and individuals). It maintains that Verón made n sharp characterization of the modern and postmodern situation at these levels and it proposes an analytical device to study the spatial and temporal dimension of contemporary circulation, in which content “travels” from social networks to the mass media and from the mass media to social networks. He also argues that it is the new conditions of circulation of meaning that should be focused to account for how our media culture is changing.

This paper analyzes the dissemination of an unofficial negative campaign on Twitter, during the 2016 mayoral election campaign in Rio de Janeiro. The sponsorship of attack messages in electoral races by groups not officially linked to parties and candidates is a strategy little studied in Brazil. To fill this gap, we analyzed the messages posted on Twitter during the second round of that election by the partisans from the main candidates Marcelo Crivella (PRB) and Marcelo Freixo (PSOL), as well as by networks supporting and attacking them. The methodology includes Content Analysis, Social Network Analysis and statistical analysis of an initial sample of 530,000 tweets gathered through Twitter Search API, reaching a final sample of 11,407 posts classified as negative. The results show that the main negative campaign agents have different roles and profiles on Twitter, being identified as influencers or disseminators of attack contents.

This paper discusses and unfolds the main topics of Gilbert Simondon’s course on communication, lectured between 1970 and 1971 but published only in 2010. We believe that the French philosopher, who has been receiving a growing posthumous acclaim, brings forth an original theory of communication, still to be assimilated by our field. As a step towards rebuilding such theory, this text presents the main arguments from Simondon’s course and, confronting them with information theory, defends signification as a key concept for understanding communication as a science of transformations.

The paper discusses the circulation of meanings as a theoretical methodological perspective for research in social media, in the sense of denaturalization and contextualization of data. This involves reincorporating subjects with their contexts, values and contradictions, involved in power relations and struggles for meaning, considering the limits of circulation. In methodological terms, it is an apprehension from the digital traces, trying to go beyond descriptivism.

From a mapping of methodologies employed in academic studies about television journalism, produced between 2015 and 2017 in 11 databases, this article suggests the relevance of looking over the images and their combinations with words in the production of meanings. It also proposes the recognition of the necessity to articulate to the textual analyses of TV News and television programs four instances that constitute the communicative processes in the convergent environment: singularities of ambience, circulation, features of organizations and productive practices and interactions of audiences. In this sense, this paper presents the analytic framework of the Convergent Televisual Analysis (ATC), a methodological procedure for the critical reading of audiovisual texts in communication research and learning processes at a time of transformation of production and consumption of audio and video contents and formats resulting from media digitalization.

This paper proposes to analyze “All that is Solid” by artist and filmmaker Louis Henderson, a documentary film that uses the desktop of the computer as a background for a new kind of narrative structure to unfold. This film will be looked at mainly through Lev Manovich ́s notion of the “database as a symbolic form” (MANOVICH, 1999) which the author attributes to the “age of the computer” when the database becomes the key form of cultural expression after the novel and cinema. It conducts a close reading of the film while pointing out several moments when database as a cultural expression surfaces, becomes dominant, and competes with conventional narrative forms of filmmaking. Through the basic system of organizing folders on his computer’s desktop Henderson reflexively unravels a complex story: as technological progress advances in the West, piles of obsolete computers are thrown away, sent to the coast of West Africa, and end up being recycled in waste grounds such as Agbogbloshie in Accra, Ghana. The film confronts us with a strange system of recycling, a kind of reverse, neo-colonial mining, where groups of Ghanaians search for residues of mineral resources in the computer waste materials sent from Europe. It tells us of the correlation between technology and race, and of the immateriality of the ‘Cloud’ in contrast to the heavy materiality of e-waste zones.

The paper reflects on the concept of scalability in the work of the German filmmaker Alexander Kluge, pondering on the effects caused by the shift from analog film to computerized film. Through citations and interviews of his films, the article points out moments and forms of scalability in Kluge’s work reflecting on the temporal and spatial scalabilities that also move to digital data. Ultimately, the article presents part of an unpublished interview with the filmmaker on the Internet and the new digital media of communication and representation.

This paper examines the actor’s performance of android characters in science fiction films. We will l discuss how the recurring motif of the unmasking of the android puts the human face and gaze into question. From A clever dummy (1917) to Blade Runner 2049 (2017), we will l analyze some of the narrative and aesthetic strategies that transform the actor in a machine-like character, also pointing to early manifestations of the figure of the android in Western culture and to some of its recent developments in the work of artists Otávio Donasci, Tony Oursler and Denis Marleau.

This paper discusses the ways in which sociotechnological networks express the conjugation of legein and teukhein, as these terms are conceived by Cornelius Castoriadis, to denote dimensions of institutive imaginary . This is a theoretical reflection aimed at qualifying the aforementioned networks as processes of the social imaginary. The relevance of this discussion lies in the unusual epistemological treatment of sociotechnological networks, which are addressed as constituent elements of the processes of social creation and institution. The methodological procedure consisted in the interpretation of the concepts of legein and teukhein, applied to the configurations of mediatic technological communication, engendered by the the imaginary of the times. The result is the characterization of sociotechnological networks as expressions of imaginary pertaining to the third spirit of capitalism, according to Boltanski and Chiapello.

From a conceptual panorama on the landscape in the cinema, which implies the distinction between a scenic and territorialized conception as opposed to a more contemplative and more material function of space, the purpose of this paper is to analyse four Italian fiction films set in the Po Valley – “Il grido” (1957) and “Deserto Rosso” (1964) by Antonioni, “La lunga notte del ́43”(1960) by Vancini and “Il giardino dei Finzi-Contini” (1970) by de Sica. This collection, marked by its adherence to the modern Italian cinema, reveals a pictorial unity. Our initial hypothesis is that this ambiance and the formation of style are simultaneously determined and condensed by characteristics of the landscape in which the films are located. In order to develop this hypothesis and to analyze the films, I adopt the theoretical framework of landscape studies, as well as on specific approaches to modern cinema, and the literature on modern Italian cinema.

This paper aims at analyzing video trails of two networks formed from two Youtube videos, related to the #YoSoy132 movement, occurred in 2012, in Mexico. These networks were analyzed using methods from Social Network Analysis (SNA), with the graphs visualized through the Gephi program. The networks showed very different connection patterns, one with more clusters less linked to each other, and another, an egocentric network example.

This paper discusses the film A idade da terra (Glauber Rocha, 1980), according to a theoretical-methodological approach that highlights the materiality of picture and sound. There are two gestures here: an analytical gesture, which tries to establish a material contact to the film in question; and the other one, of conceptual tone, which consists in situating the debate on the materiality of communication objects. Through the path of this research for concepts, we have found a fundamental bind between the temporal dimension of forms and the materiality of the aesthetic experience.

Eduardo Coutinho’s contemporary cinema is marked by the interview as a dramatic form, as well as the register of the ongoing encounter between the director and his interviewees. However, this “art of the present”, as called by Consuelo Lins, implies a rarer, denser history-writing project. This paper explores this dimension of his work by comparing two films that are 20 years apart in their making: Twenty years later (1984) and Metalworkers(2004). Their similarities and differences allow us to note, between past and present, mutual insights that Coutinho’s diachronic gesture brings about, which hypothetically constitutes “the present as history”.

In its contemporary dimension, the testimony assumes a central place for media narratives, particularly for journalism. This paper proposes a discussion about the testimonial narrative in journalistic accounts that emerges from the perspective of subjectivity and affections, against the hegemonic logic of a kind of media marked by objectivity. Its starting point is an article where a journalist witnesses the death of his interviewee. This sort of narrative allows us to elaborate clues to think the role of testimonies and its limits, recognizing that, if considered in the narrative flow, not only as a journalistic routine procedure but also as a lived, narrated experience, it could offer a key to putting individuals into a relationship.

This paper aims to bring together the concept of myth as Roland Barthes has defined it in his work Mythologies; as well as the notion of studium established in another of his books, The camera lucida, since this Barthesian notion beckons with the possibility to be understood as a sort of rehandling of this concept of myth to the field of photography. We work with the hypothesis that these Barthes’s operators can still be useful in the analysis of images in the contemporary studies of visuality.

This paper proposes three hypotheses concerning the smart cameras: 1) there is a tendency of the algorithmically inscribed diagrams on the surface of the image in order to make themselves invisible; 2) the emphasis on superficiality of conducts is linked to the replacement of the privileged locusof subjectivity towards the surface of the bodies in the second half of the twentieth century and to a contemporary emphasis on action; 3) the predictive and anticipatory nature of intelligent devices of visibility is an important indicator of a contemporary crisis here formulated as a crisis of plasticity and habit.

This paper aims to reflect upon the topic of ageing from the standpoint of audio-visual media, especially the cinema. Very often triggered unconsciously, ageism is a type of prejudice that renders social discrimination based on a person’s age. This form of oppression takes part in the social debate concerning ageing and the formation of subjectivities. Communication fosters social bonding in a context of fierce struggles around the production of meanings. By reflecting upon the social construction of older age as despicable and older people as social outcasts, we bet on our capacity to resist ongoing trends and invent alternative modes of being, living and cherishing longer life.

A recurrent definition of communication relies on the etymological root of the term, whose origin in Latin means an activity accomplished together, from a situation of social meeting. This original meaning of the word has spread in a significant parcel of studies in this area, indicating that communication would be the product of a common action. In this paper, the implications of this form of grasping the interactional practices will be contrasted with another way to realize the sharing inherent in communication, driven by a distinct etymological root, linked to the disjunction and to the risks and obstacles that permeate the processes of joint coordination of actions. It is argued that this approach can enrich a critical perception in the field of communication studies.

This paper focuses on the analysis of imagetic depictions made by the illustrator Santiago Caruso based on The Bloody Countess’ gothic symbols, written by Alejandra Pizarnik. It inquires how Caruso has depicted, using techniques that includes graffito, the symbols of death, blood, mirror and redness that interact to give the tale its gothic aspect, by considering important peculiarities of the language involved and how they relate to each other in the meaning construction of the artwork here studied.

The creative process in the audiovisual industry is based on coordination among several agents (screenwriters, directors, producers, executives, casts , etc.), technologies and corporate decisions. Studying this process requires an understanding of how those elements, that blend art and business, impact the development of the imaginary that movies and TV series share with audiences . This paper seeks to contribute toward an understanding of this process, which is developed collectively and under market logic, based on a heuristic perspective of the imaginary (Eliade, Durand, Barros), the archetypological concept (Jung, Durand), and the mythocritical method. The results are the mapping of the creative process and the draft of a method for investigation of the process in the audiovisual industry.

This paper aims to outline the process of mediatization of sex markets and the consequent changes in the services offered. A resumption of the development of different activities within the sex trade is made, focusing on the changes occurred since the advent of a diversity of media devices. Four distinctive features of the metaprocess are also pointed out: a) proliferation of new commercial erotic branches; b) the appearance of other forms of pimping; c) increase of transit between the various activities; d) the development of new strategies to distinguish the work.

The paper proposes to reflect about the spectator’s relationship with the works that use the moving image in the museum space and how this relationship generates new ways of fruition, highlighting the time available for the appreciation of the works. It intends to analyze the relationship between the time of the work and the spectator’s time on long temporality films, as in the case of installations such as Marclay’s The Clock (2007) and Blaufuk’s Theresienstadt (2007), using concepts like expanded cinema (PARENTE, 2006) and pensive spectator (BELLOUR, 1987). Furthermore, it regards the theoretical framework that deals with slow film and the emancipation of the spectator that presents itself as responsible for making the art productive.

The Brazilian lm market has shown a growth momentum last years. Recently, co-distribution, i.e., the distribution of a film made by two or more companies at the same time, has been a more frequent strategy. The aim of this paper is to analyze the different ways of acting in the co-distribution of Brazilian films. The analysis was based on secondary data available at the Observatório do Cinema e Audiovisual for 2009 to 2015. During this period, there were 203 distribution companies operating in the market. In this set, only 29 participated in co-distribution of films. The data were analyzed through Cluster Analysis. Five distinct forms of strategic action were identi ed in the co-distribution of Brazilian cinema.

This paper aims to situate the study of entrepreneurial culture in the field of communication, based on its problems. Therefore, we deal with the presence of the discourses related to entrepreneurship in the media scenario, as well as we approach the complex communication processes that involves the entrepreneurial activity, through the discourses of its agents and institutions. The notion of inspiration is presented as a central point to the communicational forms that organize the entrepreneurial ideology in its publicity, in a motivational and positive manner.

The paper thematizes the concept of pathosformel, by Aby Warburg, in the reading of the film Ato, atalho e vento (2014), by Marcelo Masagão. Just as in the known Nós que aqui estamos, por vós esperamos (1999), Masagão makes, in this new proposal, a collage with 143 films. A striking feature in the montage of Ato, atalho e vento is the approximation of certain passages by similarities, whether in thematic, in form, or even in gestures. Thus we have species of sequences that cover the repetition of forms loaded with meanings, such as the act of “being photographed” or “escaping.” Following the Warburgian view, we could note in these sequences anthropological elements of our modernity through the pathos formula that the lms represent and suggest by the chain of images. We intend, therefore, to notice the relations between gesture, cinema and pathosformel to analyze with theoretical rigor the lm of Masagão. In addition to Warburg’s theoretical repertoire, commentators will be invited to rethink the Warburgian theory in the cinematographic key, such as Giorgio Agamben, Philippe Alain-Michaud and Georges Didi-Huberman.

From the comparison between the thought of Landowski and Zilberberg,, two semioticians who question the regency of the sensitive in the installation of the meaning of the world,, this paper discusses the emergence of styles from the semantic and aesthetic constraints of two spheres of communication: the mediatic and the literary. In order to achieve this, we consider the body of the actor of the enunciation in the necessary relationship established with the actor of the utterance.

This paper analyses the discursive construction of Brazil’s new middle class (also called new class C) in the Brazilian telenovela (soap opera) I Love Paraisópolis, applying French semiotics as theoretical reference. Therefore, the frst chapter of this telenovela, broadcasted by Rede Globo, in 2015, is taken as corpus. In the story, the main character, Marizete, lives in Paraisópolis favela, in São Paulo. It is noticeable, in this case, that the new class C does not play a peripheral part,, but stars the central plot in the script. Thereby, acknowledging that the Brazil’s new middle class has privileged locus in the favela the telenovela is named after, the scenes are analyzed concerning the narrative and discursive levels of the generative path of meaning. Finally, taking into account Landowski’s (2002) model about the modes of relation to the otherness, it is presented how the relations between city and favela are established, also considering some elements of visual language. This pathway, therefore, allows to understand some of the social configurations in I Love Paraisópolis, considering, evidently, this society as an effect of meaning.