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...
Na minha lista:
| Autor principal: | |
|---|---|
| Outros Autores: | |
| Formato: | doctoralThesis |
| Idioma: | pt_BR |
| Publicado em: |
Universidade Federal do Rio Grande do Norte
|
| Assuntos: | |
| Endereço do item: | https://repositorio.ufrn.br/handle/123456789/51970 |
| Tags: |
Adicionar Tag
Sem tags, seja o primeiro a adicionar uma tag!
|
| id |
ri-123456789-51970 |
|---|---|
| record_format |
dspace |
| institution |
Repositório Institucional |
| collection |
RI - UFRN |
| language |
pt_BR |
| topic |
Esfera pública digital Influenciadores digitais AIDS (Doença) HIV (Vírus) CNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAO |
| spellingShingle |
Esfera pública digital Influenciadores digitais AIDS (Doença) HIV (Vírus) CNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAO Santos, Joseylson Fagner dos Luz, câmera, positHIVação! Narrativas audiovisuais como estratégias de visibilidade soropositiva a partir do YouTube |
| description |
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. |
| author2 |
Lacerda, Juciano de Sousa |
| author_facet |
Lacerda, Juciano de Sousa Santos, Joseylson Fagner dos |
| format |
doctoralThesis |
| author |
Santos, Joseylson Fagner dos |
| author_sort |
Santos, Joseylson Fagner dos |
| title |
Luz, câmera, positHIVação! Narrativas audiovisuais como estratégias de visibilidade soropositiva a partir do YouTube |
| title_short |
Luz, câmera, positHIVação! Narrativas audiovisuais como estratégias de visibilidade soropositiva a partir do YouTube |
| title_full |
Luz, câmera, positHIVação! Narrativas audiovisuais como estratégias de visibilidade soropositiva a partir do YouTube |
| title_fullStr |
Luz, câmera, positHIVação! Narrativas audiovisuais como estratégias de visibilidade soropositiva a partir do YouTube |
| title_full_unstemmed |
Luz, câmera, positHIVação! Narrativas audiovisuais como estratégias de visibilidade soropositiva a partir do YouTube |
| title_sort |
luz, câmera, posithivação! narrativas audiovisuais como estratégias de visibilidade soropositiva a partir do youtube |
| publisher |
Universidade Federal do Rio Grande do Norte |
| publishDate |
2023 |
| url |
https://repositorio.ufrn.br/handle/123456789/51970 |
| work_keys_str_mv |
AT santosjoseylsonfagnerdos luzcameraposithivacaonarrativasaudiovisuaiscomoestrategiasdevisibilidadesoropositivaapartirdoyoutube AT santosjoseylsonfagnerdos lightcameraposithivityaudiovisualnarrativesasseropositivevisibilitystrategiesfromyoutube |
| _version_ |
1773965594030243840 |
| spelling |
ri-123456789-519702023-03-27T20:14:12Z Luz, câmera, positHIVação! Narrativas audiovisuais como estratégias de visibilidade soropositiva a partir do YouTube Light, camera, positHIVity! Audiovisual narratives as seropositive visibility strategies, from YouTube Santos, Joseylson Fagner dos Lacerda, Juciano de Sousa https://orcid.org/0000-0002-4764-2807 http://lattes.cnpq.br/8336355287959434 https://orcid.org/0000-0002-0876-377X http://lattes.cnpq.br/9310055597414010 Gallego, Almudena Muñoz Azevedo, Sandro Tôrres de Carvalho, Carlos Alberto de Souza, Elizabethe Cristina Fagundes de Veloso, Maria do Socorro Furtado http://lattes.cnpq.br/8254589050604215 Esfera pública digital Influenciadores digitais AIDS (Doença) HIV (Vírus) CNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAO 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. Esta é uma tese positiva. Produziu-se na perspectiva de retratar fluxos e circulações de conteúdos audiovisuais nas redes digitais interconectadas, materializados em torno dos sentidos culturais e políticos a respeito da soropositividade. Apresenta narrativas e roteiros de pessoas que reconhecem, nas vivências pessoais, energia para conduzir processos de empoderamento e de mudança social, em relação a contextos históricos de violência e discriminação aos quais foram condicionados indivíduos em virtude da sua condição sorológica. A internet é o ambiente onde se observam tais práticas, nas quais pessoas que vivem com HIV se apropriam dos recursos tecnológicos criativos para, a partir das suas experiências, promover espaços para troca de conhecimentos e produção de saberes, estabelecendo condições para consumar atos coletivos em nome da visibilidade soropositiva. Nesse sentido, a pesquisa é desenvolvida com os propósitos de analisar os conteúdos partilhados a partir do YouTube, no que se refere às características dos produtos midiáticos, e dos itinerários de realização dos canais, no âmbito sobre como são concebidas e praticadas as táticas de produção audiovisual nas plataformas de vídeo online. Para tanto, a investigação foi conduzida no horizonte da pesquisa etnográfica, pelo interesse de obter uma “descrição densa” das dinâmicas e significados estabelecidos nessas ações (GEERTZ, 2008). Na condução do estudo, foi procedida uma observação acompanhante (MISKOLCI, 2017) das práticas digitais em relação às rotinas de circulação de vídeos nos canais e, através do mapeamento das páginas, determinado o recorte empírico constituído por 18 canais produzidos por homens gays soropositivos. A partir desse material, foi aplicada a análise de conteúdo (BAUER, 2002; BARDIN, 2002) pela qual se alcançou a complexidade do emaranhado de discursos organizados sob gêneros discursivos, formatos de produção audiovisual e abordagens temáticas das variadas camadas da vida social. O material é referência, junto as transcrições e análises de falas e histórias de vida (BECKER, 1999; MYERS, 2002) dos quatro canais com maior volume de conteúdos, produzir inferências sobre os modelos de ação social e política na construção da #EsferaPosithiva. A partir dos quadros obtidos, foi possível conceber politizações dos ambientes conversacionais na internet, com base na cultura libertária e emancipatória fundada nos alicerces de uma sociedade interconectada (CASTELLS, 2003; 2005; 2015; 2017). Os canais de vídeo consistem de ações fomentadoras dos processos de empoderamento, tendo em vista a tomada crítica da produção de subjetividades através de atos performativos para se contrapor aos enquadramentos históricos de precariedade das vidas soropositivas (BUTLER, 2015; 2018; 2020). Ao mesmo tempo, revelam processos de transformação das estruturas sociais e organizacionais de uma sociedade midiatizada, decorrentes da apropriação criativa e interativa dos aparatos tecnológicos digitais (HJARVARD, 2014). Há, por fim, o entendimento de que a figura dos influenciadores digitais emerge na articulação com o ativismo, no que se refere às possibilidades de se fazer circular, na esfera interconectada, sentidos políticos e narrativas contestadoras do estigma e das condições subalternas a que os sujeitos são historicamente estabelecidos. 2023-03-27T20:13:40Z 2023-03-27T20:13:40Z 2022-09-16 doctoralThesis SANTOS, Joseylson Fagner dos. Luz, câmera, positHIVação! Narrativas audiovisuais como estratégias de visibilidade soropositiva a partir do YouTube. Orientador: Juciano de Sousa Lacerda. 2022. 340f. Tese (Doutorado em Estudos da Mídia) - Centro de Ciências Humanas, Letras e Artes, Universidade Federal do Rio Grande do Norte, Natal, 2022. https://repositorio.ufrn.br/handle/123456789/51970 pt_BR Acesso Aberto application/pdf Universidade Federal do Rio Grande do Norte Brasil UFRN PROGRAMA DE PÓS-GRADUAÇÃO EM ESTUDOS DA MÍDIA |