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Copyright of Anuario Electrónico de Estudios en Comunicación Social 'Disertaciones' is the property of Colegio Mayor de Nuestra Senora del Rosario 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 Historia: Questoes & Debates is the property of Universidade Federal do Parana 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 article analyzes the documentary "Nosso Sagrado" (2017), based on oral history interviews with directors Fernando Sousa and Jorge Santana. They complexify the understanding of the language of the film and the place of documentary in contemporary political struggles. The text problematizes the dilemmas surrounding the production of "Nosso Sagrado", the voices mobilized in the aesthetics of the film, and the historical narrative elaborated by the documentary and its relation to the social memory of Afro-Brazilian religions. And it demonstrates how the social movement "Liberte o Nosso Sagrado", which claimed reparation for the violence against Afro-Brazilian religions instituted in the Museum of the Civil Police of Rio de Janeiro, linked itself to the trajectory of Quiproquó Filmes and the documentary. Here, Oral History is understood as part of a methodology to understand the language of documentary films and its transformations. [ABSTRACT FROM AUTHOR]

Copyright of Pós: Revista do Programa de POS-Graduacao Em Artes - EBA/UFMG is the property of Pos - Programa de Pos-graduacao em Artes (PPG-Artes) 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 Reflexão & Ação is the property of Universidade de Santa Cruz do Sul 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 Imagens da Educação is the property of Universidade Estadual de Maringa 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 Doc On-Line: Revista Digital de Cinema Documentário is the property of Doc On-Line: Revista Digital de Cinema Documentario 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 Doc On-Line: Revista Digital de Cinema Documentário is the property of Doc On-Line: Revista Digital de Cinema Documentario 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 educational product presented in this article is an eighteen-minute documentary film addressing the concept and origin of Professional and Technological Education (EPT) in Brazil. The main narrative of the film focuses on seventy years of historical involvement of women in management positions at an institution in the interior of the State of Goiás. The documentary film was created using photographs, documents, and short videos based on research conducted during a master's program. Furthermore, this film was created with a diverse audience in mind, focusing on cross-cutting themes and gender relations that can be discussed in a variety of contexts. The work presented here is structured as an experience report, describing the process of discussion, formulation, application, and validation of the educational product. The product application took place in a virtual environment, linked to a short-duration course offered via the Moodle LMS for a group of students in the Pedagogy undergraduate program at Universidade Aberta do Brasil (UAB). It is believed that after the validation of the educational product, it fulfills its purpose by addressing the concepts of PTE and discussing gender relations based on the history of the Federal Institute Goiano Campus Urutaí. [ABSTRACT FROM AUTHOR]

This article aims to demonstrate how research in communication design can contribute to disseminating community practices in economically disadvantaged contexts, such as in social housing neighbourhoods. This study stems from the ECHO research project, where the main mission is to understand and document two self-initiated community practices in the social housing neighbourhood of Balteiro, in Vila Nova de Gaia, Portugal, to disseminate them and foster their replication in similar social contexts. It begins with a literature review on the role of design on behalf of communities, focusing, in particular, on the concepts of social design and universal design, which substantiate the relevance and pertinence of the issue under study. Then, it describes the case study of Balteiro. It presents the methodologies adopted in this research, namely the interviews conducted to learn about the history of the two community practices. This provided the basis for developing a preliminary study for an online platform and a series of documentary films. This study proved the importance of involving designers in this dissemination process through multidisciplinary teams. The research work in the field should be close to the community, the institutions and the different social actors involved to understand the complexity of the study context and define how design should operate. The empirical experience from this study has shown that work in the social area should be developed locally, focused on small communities or informal organisations, and aware that results are achieved slowly and gradually. [ABSTRACT FROM AUTHOR]

Copyright of Revista FAMECOS - Mídia, Cultura e Tecnologia is the property of EDIPUCRS - Editora Universitaria da PUCRS 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.)

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.)

Copyright of Sociologia & Antropologia is the property of Sociologia & Antropologia 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 Doc On-Line: Revista Digital de Cinema Documentário is the property of Doc On-Line: Revista Digital de Cinema Documentario 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 Doc On-Line: Revista Digital de Cinema Documentário is the property of Doc On-Line: Revista Digital de Cinema Documentario 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.)

In general, the project proposed the production of a video-documentary with testimonials of the residents of the Beira Rio Camp, in the city of Fronteira, in the state of Minas Gerais, which would bring an approach to their relations with natural resources and with the land, where the camp is. The learnings in school, the knowledge in everyday experiences, family experience, deterritorializations, among many other factors related to life in the field. It was also specifically aimed at verifying the changes that have occurred in the camp since the arrival of family farming, and the role of this model in the transformations of the site. And, finally, to have an overview of the natural resources used in production, to understand the expectations of residents on the more sustainable use of these resources. The testimonies were recorded, from a guide of questions, to facilitate the post-production process. The recordings made allowed to build a documentary with 34 minutes, which is being shown in schools in the region. Bringing the stories of the campers, and love they show for the land, to other audiences is an effective way to combat prejudice and misinformation on the members of the struggle for land movements. It is believed that the documentary "A love for the land" has fulfilled this function. [ABSTRACT FROM AUTHOR]

Copyright of Revista CPC is the property of Revista CPC 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.)

This paper proposes a discussion about the effects of the rupture of the monocular frame of traditional cinema by virtual reality in the language of documentary. From the analysis of the film Step to the Line (Ricardo Laganaro, 2017), we seek to show that cinema can reach other levels of experience and, in the case of documentary, raise the risk of the real in the virtual environment through simultaneous multisensory stimuli generated by the computer. We begin the text with a brief review of the concept of virtual reality from the communicational point of view, and then discuss the new possibilities of inscription of documentary cinema provided by the panoptic dimension of this virtual medium. We are also interested in discussing some of the perspectives of Bill Nichols (2005) and Jean-Louis Comolli (2008) on the influence of subjective turns in the most recent transformations in documentary cinema. [ABSTRACT FROM AUTHOR]

This research aims to list Environmental Education (EE) in times of environmental crisis, which requires more dialogue and reflection due to its complexity and importance in contemporary times. Therefore, we aim to mine the articles of two journals and the works of an event in the area of ee, identifying how they approach the media resources and, their strategies used, based on the conceptions of Mello and Trivelato (1999), being: conservative, ecology social and political ecology. In this sense, we observe the predominant AE conceptions in publications, considering the use of media resources, such as documentaries, films and videos. Also, we investigated such resources, which strategies use them, to investigate the conceptions of ee. Thus, from this study emerged the category: Conceptions of ae in media resources and teaching strategies. Therefore, the results showed the importance of such reflection on the teaching work, gleaming that the concepts of AE need to be understood as a starting point for choosing not only the media resource but also the didactic strategy used, for which more studies on the conceptions of EE in teacher education needing to permeate the pedagogical praxis with a focus on EE in a transversal way in a holistic, humanistic and transformative perspective. [ABSTRACT FROM AUTHOR]

Copyright of Ilha do Desterro: A Journal of English Language, Literatures in English & Cultural Studies is the property of Universidade Federal de Santa Catarina, CCE Departamento de Pos-Graduacao em Lingua Englesa 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 article analyzes the multiplicity of media and the participation of users in the process of constructing information today. In this scenario, the documentary finds in transmedia narrative a possibility of adopting multiple languages through the crossing of contents in different media. In this way, bibliographical research debates how the transmedia documentary can contribute to safeguarding a community’s knowledge, considered cultural heritage. Therefore, the study uses the writings of Jenkins, Gosciola and Renó to discuss transmedia documentary. The research results show that nowadays, the multiplicity of voices finds in the multiplicity of records the perpetuation of knowledge and actions through the constitution of virtual communities. [ABSTRACT FROM AUTHOR]

Copyright of Doc On-Line: Revista Digital de Cinema Documentário is the property of Doc On-Line: Revista Digital de Cinema Documentario 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.)

This article presents wooden images of the black Franciscan Carmelite saints in Pernambuco and Minas Gerais, northeastern and southeastern Brazilian poles. The time frame of the objects of study covers the 16th to the 19th centuries, a period of Christianization of the gentiles, blacks, and browns. The work of the brotherhoods of Rosário dos Pretos resulted in the construction of a series of temples and, mainly, in the production of polychrome sculptures with a diversified technique and iconography. The research used a theoretical-practical review to examine collections from the states, as mentioned earlier, and included analyses of socio-cultural aspects, religious history, tech- nical materials, and photo documentation. As a result, it was verified, therefore, the predominance of sculptures by Elesbão, and Ifigênia, by Carmelites and, Antônio, de Noto, and Benedito by the Franciscans, and the analysis of the technical, formal, stylistic, and iconographic variety about these Catholic sculptures. It is necessary to emphasize that despite the dissociation of registration from these collections, the images studied assert themselves as an essential documentary testimony of the process of black evangelization and verification of its characteristics. The study allowed us to perceive the specificities between the devotions, characteristics related to the collections of each state, and the relevance of Benedito, as the most revered black saint in the country. [ABSTRACT FROM AUTHOR]

This article aims to report the experiences with the project through the adversities during the year 2020 and the COVID-19, focusing on the scientific dissemination through audiovisual social media. In this way, there is the production of material for an awareness of the importance of preserving the biodiversity of the brazilian fauna in order to reach a general public. Scientific dissemination is one of the means of spreading scientific research, and it can be, for example, through audiovisual media such as documentaries and videos. Such audiovisual diffusion provides greater awareness of society in general, bringing biodiversity a little closer to the recipient, mainly due to the current pandemic moment. Therefore, the project seeks to reach across the walls of the university, propagating the brazilian fauna, always using images of animals in situ and reaching beyond the academic environment using the internet. [ABSTRACT FROM AUTHOR]

In 1947, Recife elected the first councilwoman in its history, the textile worker and communist activist Júlia Santiago da Conceição. In 2017, on the centenary of her birth -- and almost thirty years after her decease -, the ex-councilwoman received a series of tributes that involved the making of a documentary, an opera and, later, a request that the new municipal legislative building was named in her honor. Through the analysis of the works and interviews with some of its directors, the objective of this article is to identify which memories are framed in certain situations so that each group can build "their own" Julia. [ABSTRACT FROM AUTHOR]

Copyright of ECCOM: Educação, Cultura e Comunicação is the property of ECCOM: Educacao, Cultura e Comunicacao 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 Historia: Questoes & Debates is the property of Universidade Federal do Parana 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 Revista Tellus is the property of Revista Tellus 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.)

September 27, 2013, the Ministry of Education institutes new National Curriculum Guidelines for the undergradduate course in Journalism. This research presents a diachronic perspective of the curricular changes that occurred in the journalism graduation course at the Federal University of Paraíba (UFPB), as well as the graduate's (of classes 2011 and 2016, after the two last reforms) perception of the new curricular structure. To do so, questionnaires were submitted to 38 graduates and interviews were conducted with six coordinators, in addition to a documentary research. The results show the Course pursuit to conform with the new communication scenario and indicate that 65.8% of the participating graduates worked in content production for social networks. [ABSTRACT FROM AUTHOR]

According to Rüsen (2010), new senses can lead to new representations in the historical context of past experience, which requires new techniques. This qualitative research was carried out in the city of Araçatuba, SP, Brazil, with 49 university students from technology courses. The choice of the field of research and research population were made in connection with the subject “Afro-Brazilian and Indigenous History and Culture, introduced by laws 10.639/03 and 11.645/08. The instrument applied by the teacher is based on the argumentative perspective of action research, involving researcher-teacher and academicparticipants. Two argumentative questions were proposed to the students: -" How do you see the participation of indigenous / black people in the history of Brazil? - What is the meaning of the words Indian / Negro in the history of Brazil?” We analyzed, from the perspective of the narrative competence of historical consciousness, the Freirean naive transitive consciousness and the previous Rüsenian consciousness, the possible alterations based on historical knowledge, which are intermediated by culture languages (literary books, music, films and Brazilian documentaries) from the 18th to the 21st century. The results show that the students complied with the proposals, stressing the continuity of this process in this and other higher education institutions. [ABSTRACT FROM AUTHOR]

The intense process of slavery in Brazil publication to the exclusion of Afro-Brazilian and African populations, who created the resistance to survive the barbarism of the slave system. Just like yesterday, today the African peoples and their descendants in the Diaspora are challenged to re-exist in a scenario of denial of basic rights. This article reflects on the denial of quilombola memory and history in official curricula. Initially, it examines the possibilities of an intercultural curriculum for promoting quilombola history and culture in school contexts. Then, it presents the narratives of the residents of the remaining community of Alto do Tamanduá as possible paths for the dialogue with the quilombola memory. Furthermore, it analyzes the conditions of access to education in the community, based on the legal rules of Quilombola School Education. The study is based on the methodology of Oral History, with the use of identification, being part of an investigation at the master's level within the scope of ProfEPT / Ifal, which resulted in the conclusion of a documentary video with the social memories of the whole community. Without intending to end the reflections, it indicates other paths for the inclusion of quilombola memory in curricula. [ABSTRACT FROM AUTHOR]

Copyright of Doc On-Line: Revista Digital de Cinema Documentário is the property of Doc On-Line: Revista Digital de Cinema Documentario 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 work studies the relationships established between documentary filmmakers and leader folkcommunicators, identifying if the represented relationships are the result of a dialogical ethics, in the light of the buberian philosophy and folkcommunication. The research seeks to reflect on the relationships between those who produce documentaries and those who are filmed, due to the fact that the Brazilian media represents, in a generalist way, the peripheral female and male subjects. As a methodology, the work makes use of bibliographic research and descriptive film analysis on the Brazilian documentaries Fala Tu (2003) and Aqui Favela: o rap representa (2003). The choice of films is due to the difference in the approach about the hip hoppers and for the proximity in the realization of the productions. Thus, this work sought to reflect, specifically, about the relationships (ethics, non-ethics) that can be identified in documentary film productions, however, the notes fit for other media that promise assertions about the historical world. [ABSTRACT FROM AUTHOR]

Copyright of ouvirOUver is the property of ouvirOUver 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 Revista Croma is the property of Revista Croma 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 Revista Croma is the property of Revista Croma 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 Direito e Práxis is the property of Editora da Universidade do Estado do Rio de Janeiro (EdUERJ) 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 Revista Comunicação Midiática is the property of Universidade Estadual Paulista, Faculdade de Arquitetura, Artes e Comunicacao 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 Estúdio (1647-6158) is the property of Revista Estudio 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.)

This work presents an analysis of Gilberto Mendes' "Santos Football Music" performed by the Orquestra Sinfônica de Santos in 2005 and recorded on video as part of the documentary "A Odisseia Musical de Gilberto Mendes" (2006). This work is characterized as a practice of music-theater, in which scenic and visual elements are combined with sound elements. The participation of the audience in the performance is also a fundamental component of the work. Deviating from an analytical perspective focused on the object-score, in this article we seek to approach the musical work from the point of view of its performance. To do so, we rely on Thomas Turino's (2008) distinctions in ways of music making and Arjun Appadurai's (1996) locality perspective. [ABSTRACT FROM AUTHOR]