Digital spectacles of violence : film, TV and social media entanglements in 2010’s brazil
Autor(a) principal: | |
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Data de Publicação: | 2022 |
Tipo de documento: | Artigo |
Idioma: | eng |
Título da fonte: | Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
Texto Completo: | http://hdl.handle.net/10437/13426 |
Resumo: | The study of cultural industries, in particular the complex manifestations of spectacle, has produced valuable contributions that articulate capitalism, globalization and culture. The revisitation of this legacy, especially in dealing with Latin American phenom ena, is this paper’s effort. Two case studies that took place in the 2010’s, in Brazil, underpin a reflection on mediated crimes in a digitalized, but still inequal society. The first tells of a prisoner’s self-recorded video, made in response to TV Globo’s news piece about a 2017 massacre; the second examines a reenactment of a 2000 crime that happened on the bridge Rio-Niterói in 2019, and referenced not only a real hijacking, but its film representations (Bus 174 and Last Stop 174). Invoking examples of exception ality, the article aims at delineating how certain digital spectacles of violence can be understood as direct responses to cultural texts: even though practices of socialization via the internet pose questions of accelerated efficiency (in reaching wider audienc es, and updating the meaning of live events), the social and aesthetic performances involving violence retrieve long-standing traditions created by modern institutions |
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Digital spectacles of violence : film, TV and social media entanglements in 2010’s brazilAUDIOVISUALVIOLÊNCIA DAS IMAGENSBRASILCULTURABRAZILVIOLENCE OF THE IMAGESCULTUREThe study of cultural industries, in particular the complex manifestations of spectacle, has produced valuable contributions that articulate capitalism, globalization and culture. The revisitation of this legacy, especially in dealing with Latin American phenom ena, is this paper’s effort. Two case studies that took place in the 2010’s, in Brazil, underpin a reflection on mediated crimes in a digitalized, but still inequal society. The first tells of a prisoner’s self-recorded video, made in response to TV Globo’s news piece about a 2017 massacre; the second examines a reenactment of a 2000 crime that happened on the bridge Rio-Niterói in 2019, and referenced not only a real hijacking, but its film representations (Bus 174 and Last Stop 174). Invoking examples of exception ality, the article aims at delineating how certain digital spectacles of violence can be understood as direct responses to cultural texts: even though practices of socialization via the internet pose questions of accelerated efficiency (in reaching wider audienc es, and updating the meaning of live events), the social and aesthetic performances involving violence retrieve long-standing traditions created by modern institutionsEdições Universitárias Lusófonas2023-01-03T12:48:09Z2022-01-01T00:00:00Z2022info:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/articleapplication/pdfhttp://hdl.handle.net/10437/13426eng2183-9271Cardoso, Eduardo Pradoinfo:eu-repo/semantics/openAccessreponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãoinstacron:RCAAP2023-03-09T14:08:58Zoai:recil.ensinolusofona.pt:10437/13426Portal AgregadorONGhttps://www.rcaap.pt/oai/openaireopendoar:71602024-03-19T17:16:05.575189Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãofalse |
dc.title.none.fl_str_mv |
Digital spectacles of violence : film, TV and social media entanglements in 2010’s brazil |
title |
Digital spectacles of violence : film, TV and social media entanglements in 2010’s brazil |
spellingShingle |
Digital spectacles of violence : film, TV and social media entanglements in 2010’s brazil Cardoso, Eduardo Prado AUDIOVISUAL VIOLÊNCIA DAS IMAGENS BRASIL CULTURA BRAZIL VIOLENCE OF THE IMAGES CULTURE |
title_short |
Digital spectacles of violence : film, TV and social media entanglements in 2010’s brazil |
title_full |
Digital spectacles of violence : film, TV and social media entanglements in 2010’s brazil |
title_fullStr |
Digital spectacles of violence : film, TV and social media entanglements in 2010’s brazil |
title_full_unstemmed |
Digital spectacles of violence : film, TV and social media entanglements in 2010’s brazil |
title_sort |
Digital spectacles of violence : film, TV and social media entanglements in 2010’s brazil |
author |
Cardoso, Eduardo Prado |
author_facet |
Cardoso, Eduardo Prado |
author_role |
author |
dc.contributor.author.fl_str_mv |
Cardoso, Eduardo Prado |
dc.subject.por.fl_str_mv |
AUDIOVISUAL VIOLÊNCIA DAS IMAGENS BRASIL CULTURA BRAZIL VIOLENCE OF THE IMAGES CULTURE |
topic |
AUDIOVISUAL VIOLÊNCIA DAS IMAGENS BRASIL CULTURA BRAZIL VIOLENCE OF THE IMAGES CULTURE |
description |
The study of cultural industries, in particular the complex manifestations of spectacle, has produced valuable contributions that articulate capitalism, globalization and culture. The revisitation of this legacy, especially in dealing with Latin American phenom ena, is this paper’s effort. Two case studies that took place in the 2010’s, in Brazil, underpin a reflection on mediated crimes in a digitalized, but still inequal society. The first tells of a prisoner’s self-recorded video, made in response to TV Globo’s news piece about a 2017 massacre; the second examines a reenactment of a 2000 crime that happened on the bridge Rio-Niterói in 2019, and referenced not only a real hijacking, but its film representations (Bus 174 and Last Stop 174). Invoking examples of exception ality, the article aims at delineating how certain digital spectacles of violence can be understood as direct responses to cultural texts: even though practices of socialization via the internet pose questions of accelerated efficiency (in reaching wider audienc es, and updating the meaning of live events), the social and aesthetic performances involving violence retrieve long-standing traditions created by modern institutions |
publishDate |
2022 |
dc.date.none.fl_str_mv |
2022-01-01T00:00:00Z 2022 2023-01-03T12:48:09Z |
dc.type.status.fl_str_mv |
info:eu-repo/semantics/publishedVersion |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
http://hdl.handle.net/10437/13426 |
url |
http://hdl.handle.net/10437/13426 |
dc.language.iso.fl_str_mv |
eng |
language |
eng |
dc.relation.none.fl_str_mv |
2183-9271 |
dc.rights.driver.fl_str_mv |
info:eu-repo/semantics/openAccess |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf |
dc.publisher.none.fl_str_mv |
Edições Universitárias Lusófonas |
publisher.none.fl_str_mv |
Edições Universitárias Lusófonas |
dc.source.none.fl_str_mv |
reponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação instacron:RCAAP |
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Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação |
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RCAAP |
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RCAAP |
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Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
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Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
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Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação |
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