Luz, câmera, positHIVação! Narrativas audiovisuais como estratégias de visibilidade soropositiva a partir do YouTube
This is a positive thesis. It was produced from the perspective of portraying flows and circulations of audiovisual content in interconnected digital networks, materialized around the cultural and political meanings regarding seropositivity. It presents narratives and scripts of people who recogn...
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| Formato: | doctoralThesis |
| Idioma: | pt_BR |
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Universidade Federal do Rio Grande do Norte
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| Endereço do item: | https://repositorio.ufrn.br/handle/123456789/51970 |
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| Resumo: | This is a positive thesis. It was produced from the perspective of portraying flows and
circulations of audiovisual content in interconnected digital networks, materialized around
the cultural and political meanings regarding seropositivity. It presents narratives and
scripts of people who recognize, in their personal experiences, energy to lead processes
of empowerment and social change, in relation to historical contexts of violence and
discrimination to which individuals have been conditioned due to their serological
condition. The internet is the environment where such practices are observed, in which
people living with HIV appropriate themselves of creative technological resources to,
based on their experiences, promote spaces for the exchange and production of
knowledge, establishing conditions to consummate collective acts in name of seropositive
visibility. In this sense, the research is carried out with the purpose of analyzing the
contents shared from YouTube, with regard to the characteristics of the media products,
and the channels' realization itineraries, in the context of how are conceived and practiced
the audiovisual production tactics on online video platforms. To this end, the investigation
was conducted within the scope of ethnographic research, in the interest of obtaining a
“thick description” of the dynamics and meanings established in these actions (GEERTZ,
2008). While conducting the study, an accompanying observation (MISKOLCI, 2017) of
digital practices was carried out in relation to the video circulation routines on the channels
and, through the mapping of the pages, the empirical cut consisting of 18 channels
produced by HIV-positive gay men was determined. From this material, content analysis
(BAUER, 2002; BARDIN, 2002) was applied through which the complexity of the tangle of
discourses organized under discursive genres, formats of audiovisual production and
thematic approaches of the various layers of social life was reached. The material is a
reference, together with transcriptions and analyzes of speeches and life stories
(BECKER, 1999; MYERS, 2002) from the four channels with the highest volume of
content, to produce inferences about the models of social and political action in the
construction of the #PosithiveSphere. From the frames obtained, it was possible to
conceive politicization of conversational environments on the internet, based on the
libertarian and emancipatory culture founded on the foundations of an interconnected
society (CASTELLS, 2003; 2005; 2015; 2017). The video channels consist of actions that
promote empowerment processes, with a view to critically taking the production of
subjectivities through performative acts to oppose the historical frameworks of
precariousness of HIV-positive lives (BUTLER, 2015; 2018; 2020). At the same time, they
reveal processes of transformation of the social and organizational structures of a
mediatized society, resulting from the creative and interactive appropriation of digital
technological devices (HJARVARD, 2014). There is, finally, the understanding that the
figure of digital influencers emerges in articulation with activism, with regard to the
possibilities of circulating, in the interconnected sphere, political meanings and contesting
narratives of the stigma and subaltern conditions to which the subjects are historically established. |
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