cometadata/datacite-titles-descriptions-related-identifiers huggingface dataset:
DOI: 10.6084/m9.figshare.7515434.v1
title: Conversation and deliberation across sensitive issues: a study on the use of media arguments on interpersonal debates

description: Abstract Informal debates have attracted increasing attention in deliberation studies. However, studies that explore how people make sense of plural information in the media are rare. This paper analyses how subjects from antagonizing social groups engage with a variety of media arguments to negotiate their opinions on a sensitive issue: the reduction of the criminal responsibility age in Brazil. We conducted five discussion groups in Belem (PA) and Belo Horizonte (MG) with members of the local police and with teenagers and adults who live in marginalized communities. By using an adapted version of the Discourse Quality Index, this study analyses: the justifications expressed during the discussion, the respect between groups and the role of personal stories in debates. It also investigates the arguments flow before and after the exposition of the media material to participants. The results contribute for advancing the understanding of the dynamics by which subjects situate themselves in a “space of reasons” in plural debates.
DOI: 10.6084/m9.figshare.7508183
title: The animation of cinema

description: Abstract This essay seeks to resurrect the name, work and achievements of the most significant pioneering film animator at best marginalized, at worst effaced, by English language Film Studies and Animation Studies: Émile Reynaud. It won the 2010 McLaren-Lambart Award from the Society for Animation Studies for best essay. It continues the author’s work on the theorising of animation begun in 1991 when he edited The Illusion of Life: Essays on Animation, the world’s first anthology of scholarly essays theorising animation.
DOI: 10.6084/m9.figshare.7512530
title: Ghosts in the machine: structure and movement in Ernie Gehr's films

description: Abstract This paper proposes an interpretation of six films of the American filmmaker Ernie Gehr. It argues that these films are a response to the yearnings of two trends of composition: on one hand, a search for simple structures with a reduced number of elements and based on repetitive proceedings; on the other hand, an interest on the ephemeral side of cinematic experience, the inevitable flowing of materials during the projection.
DOI: 10.6084/m9.figshare.7512530.v1
title: Ghosts in the machine: structure and movement in Ernie Gehr's films

description: Abstract This paper proposes an interpretation of six films of the American filmmaker Ernie Gehr. It argues that these films are a response to the yearnings of two trends of composition: on one hand, a search for simple structures with a reduced number of elements and based on repetitive proceedings; on the other hand, an interest on the ephemeral side of cinematic experience, the inevitable flowing of materials during the projection.
DOI: 10.6084/m9.figshare.7510958
title: Marca, imagem, signo: uma abordagem semiótica de Espinoza

description: Abstract Instead of reading Spinoza’s account of the imagination in an anthropocentric way, as dependent on the traditional doctrine of human faculties, the author considers it as a consequence of its physics and its cosmology. The knowledge by signs, as Spinoza calls imagination, has to be rooted in his theory of marks and images, and concerns all beings (human and non-human) who are able to mark other bodies and to be marked by them in infinite semiosis of nature.
DOI: 10.6084/m9.figshare.7510958.v1
title: Marca, imagem, signo: uma abordagem semiótica de Espinoza

description: Abstract Instead of reading Spinoza’s account of the imagination in an anthropocentric way, as dependent on the traditional doctrine of human faculties, the author considers it as a consequence of its physics and its cosmology. The knowledge by signs, as Spinoza calls imagination, has to be rooted in his theory of marks and images, and concerns all beings (human and non-human) who are able to mark other bodies and to be marked by them in infinite semiosis of nature.
DOI: 10.6084/m9.figshare.5696122.v1
title: I feel my wrist buzz. Smartbody and performative sensibility in Fitbit devices

description: Abstract This paper discusses the concepts of performative sensibility and smartbody. The central thesis is that performative sensibility highlights the instrumental nature of sensations in which objects act on the world. We show how the prescriptions of this new sensibility associated with wearables affect the body and subjectivity that we propose to call a smartbody. There were one hundred testimonials analyzed from the oldest thread with the greatest number of comments in the Fitbit user community forum. Quantitative tools and actor-network theory were used as a guide to assemble and analyze the corpus. The preliminary findings show that Fitbit users demonstrate particular changings in body care. Extreme behaviors, physical limits defined by system goals and quantification habits without utilizing the device are some of the examples found. These findings appear to indicate that the performative sensibility of wearables mobilizes new body performatic patterns and practices oriented by data.
DOI: 10.6084/m9.figshare.5696122
title: I feel my wrist buzz. Smartbody and performative sensibility in Fitbit devices

description: Abstract This paper discusses the concepts of performative sensibility and smartbody. The central thesis is that performative sensibility highlights the instrumental nature of sensations in which objects act on the world. We show how the prescriptions of this new sensibility associated with wearables affect the body and subjectivity that we propose to call a smartbody. There were one hundred testimonials analyzed from the oldest thread with the greatest number of comments in the Fitbit user community forum. Quantitative tools and actor-network theory were used as a guide to assemble and analyze the corpus. The preliminary findings show that Fitbit users demonstrate particular changings in body care. Extreme behaviors, physical limits defined by system goals and quantification habits without utilizing the device are some of the examples found. These findings appear to indicate that the performative sensibility of wearables mobilizes new body performatic patterns and practices oriented by data.
DOI: 10.6084/m9.figshare.5695990
title: The construction of self-representation in Jonas Mekas’ diary-films

description: Abstract This paper proposes a reflection on how the diary films of Jonas Mekas contributed to a broader understanding of the self-representation of the field within the cinematic scope. The work assumes that by searching for different ways to deal with the construction of time in his work, Mekas brought new perspectives to think the first-person narratives.
DOI: 10.6084/m9.figshare.5695990.v1
title: The construction of self-representation in Jonas Mekas’ diary-films

description: Abstract This paper proposes a reflection on how the diary films of Jonas Mekas contributed to a broader understanding of the self-representation of the field within the cinematic scope. The work assumes that by searching for different ways to deal with the construction of time in his work, Mekas brought new perspectives to think the first-person narratives.
DOI: 10.17632/b2ch39wj2d.1
title: A study about social media

description: This dataset link to the article .....
DOI: 10.6084/m9.figshare.5696149.v1
title: The conceptions of the real counselor Polonius in four comic adaptations of Hamlet

description: Abstract Focusing on the figure of the royal counselor of the play Hamlet by Shakespeare, the study will present changes in versions of four Comics on reworking the character Polonius: the adaptation of Grant and Mandrake (1990), influenced by the school of Brandywine; the adaptation of the East Press Team (2013), a manga that demonstrates an attention on the distribution of the mute characters in scene to assert a consistent search for the Shakespearean text; the adaptation of Vieceli (2011), a manga that focuses on clothing to incorporate a technological-futuristic atmosphere, and the adaptation of Srbek and Shibao (2013), with a greater focus on bodily positions on the scene.
DOI: 10.6084/m9.figshare.5696149
title: The conceptions of the real counselor Polonius in four comic adaptations of Hamlet

description: Abstract Focusing on the figure of the royal counselor of the play Hamlet by Shakespeare, the study will present changes in versions of four Comics on reworking the character Polonius: the adaptation of Grant and Mandrake (1990), influenced by the school of Brandywine; the adaptation of the East Press Team (2013), a manga that demonstrates an attention on the distribution of the mute characters in scene to assert a consistent search for the Shakespearean text; the adaptation of Vieceli (2011), a manga that focuses on clothing to incorporate a technological-futuristic atmosphere, and the adaptation of Srbek and Shibao (2013), with a greater focus on bodily positions on the scene.
DOI: 10.6084/m9.figshare.6179933
title: O Cinema Dito dos Primeiros Tempos: um Caldo de Cultura em Plena Ebulição...

description: Abstract The concept of cultural series makes it possible to consider alternative outlooks and discourses on the historical circumstances out of which cinema emerged. This approach bringing into light the institutional and cultural "polyphony" defining early cinema, in which the praxinoscope, the magic lantern and the Edison kinetoscope cross paths, leads the author to posit that the "animation" cultural series provided the main framework of the res cinematografica. While the capturing-restoring paradigm associated with the Lumière Cinématographe appeared to be dominant within both the output of pioneering filmmakers and the institution of the early years of moving pictures, a return to the animation of images as the founding principle of cinema brings a new understanding of its real differential force. This shift further sheds light on cinema's ability to evolve and adapt during the multiple identity crisis it has lived through, up to and including the current trend towards hybridity brought about by digital technology, as well as by the heightened porosity associated with new digital platforms and media convergence.
DOI: 10.6084/m9.figshare.6179933.v1
title: O Cinema Dito dos Primeiros Tempos: um Caldo de Cultura em Plena Ebulição...

description: Abstract The concept of cultural series makes it possible to consider alternative outlooks and discourses on the historical circumstances out of which cinema emerged. This approach bringing into light the institutional and cultural "polyphony" defining early cinema, in which the praxinoscope, the magic lantern and the Edison kinetoscope cross paths, leads the author to posit that the "animation" cultural series provided the main framework of the res cinematografica. While the capturing-restoring paradigm associated with the Lumière Cinématographe appeared to be dominant within both the output of pioneering filmmakers and the institution of the early years of moving pictures, a return to the animation of images as the founding principle of cinema brings a new understanding of its real differential force. This shift further sheds light on cinema's ability to evolve and adapt during the multiple identity crisis it has lived through, up to and including the current trend towards hybridity brought about by digital technology, as well as by the heightened porosity associated with new digital platforms and media convergence.
DOI: 10.6084/m9.figshare.6179432
title: The presence of national film at cinema rooms in Brazil: a study about co-distribution

description: Abstract The presence of national film at cinema rooms in Brazil: a study about co-distribution - The Brazilian film 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 identified in the co-distribution of Brazilian cinema.
DOI: 10.6084/m9.figshare.6179432.v1
title: The presence of national film at cinema rooms in Brazil: a study about co-distribution

description: Abstract The presence of national film at cinema rooms in Brazil: a study about co-distribution - The Brazilian film 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 identified in the co-distribution of Brazilian cinema.
DOI: 10.6084/m9.figshare.6179609
title: Documental series on television: the African Pop’s sweeping shot

description: Abstract Documental series on television: the African Pop’s sweeping shot - The paper points out a lack of academic research and publishing about television documental series made for the former channel Rede Manchete in the 1980s. Given this situation, the paper provides these experiences’ setting in connection with the agents in charge (directors and producers). It draws attention to the desire for internationalization, to look to the world “out there”, to the renewal of television documentary language that reaches to different aesthetics and needs to be investigated. The arrival of the video technology influences on these transformations. To examine this issue, the article analysis the series African Pop, a rare television construction about Africa and black people’s image, which aired in 1989.
DOI: 10.6084/m9.figshare.6179609.v1
title: Documental series on television: the African Pop’s sweeping shot

description: Abstract Documental series on television: the African Pop’s sweeping shot - The paper points out a lack of academic research and publishing about television documental series made for the former channel Rede Manchete in the 1980s. Given this situation, the paper provides these experiences’ setting in connection with the agents in charge (directors and producers). It draws attention to the desire for internationalization, to look to the world “out there”, to the renewal of television documentary language that reaches to different aesthetics and needs to be investigated. The arrival of the video technology influences on these transformations. To examine this issue, the article analysis the series African Pop, a rare television construction about Africa and black people’s image, which aired in 1989.
DOI: 10.6084/m9.figshare.6179411.v1
title: The spectator’s time: the aesthetic appreciation of moving images inside the museum

description: Abstract 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 spectator1s time on long temporality films, as in the case of installations such as Marclay1s The Clock (2007) and Blaufuk1s 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.
DOI: 10.6084/m9.figshare.6179411
title: The spectator’s time: the aesthetic appreciation of moving images inside the museum

description: Abstract 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 spectator1s time on long temporality films, as in the case of installations such as Marclay1s The Clock (2007) and Blaufuk1s 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.
DOI: 10.6084/m9.figshare.7506632
title: Social media app ecology at Google Play Store from the perspective of digital methods and network analysis for social media

description: Abstract This study aims to apply an experiment using a combination of methods, in order to understand the configuration of social media app ecology available on Google Play Store. Starting from inductive and abductive inferences related to methodological and epistemological perspectives that Rogers (2014) calls Digital Methods, as well as the Network Analysis for Social Media (RECUERO et al, 2015), we seek to produce a more general view on the ecology of social media apps, considering relations of similarity (processed by a tool called Google Play Similar) between structured applications on Google Play Store. Our results point to some limitations of this experiment, but at the same time indicate that the app ecology is established from a number of criteria and attention vectors beyond the relative similarity to the functionality of such applications.
DOI: 10.6084/m9.figshare.7506632.v1
title: Social media app ecology at Google Play Store from the perspective of digital methods and network analysis for social media

description: Abstract This study aims to apply an experiment using a combination of methods, in order to understand the configuration of social media app ecology available on Google Play Store. Starting from inductive and abductive inferences related to methodological and epistemological perspectives that Rogers (2014) calls Digital Methods, as well as the Network Analysis for Social Media (RECUERO et al, 2015), we seek to produce a more general view on the ecology of social media apps, considering relations of similarity (processed by a tool called Google Play Similar) between structured applications on Google Play Store. Our results point to some limitations of this experiment, but at the same time indicate that the app ecology is established from a number of criteria and attention vectors beyond the relative similarity to the functionality of such applications.
DOI: 10.6084/m9.figshare.7516475.v1
title: Creative process in the audiovisual industry: from script to the imaginary

description: Abstract 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.
DOI: 10.6084/m9.figshare.7516475
title: Creative process in the audiovisual industry: from script to the imaginary

description: Abstract 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.
DOI: 10.6084/m9.figshare.7509824
title: Aesthetic experience on the Lakay movie debate in a Brazilian university

description: Abstract In August 2016, a movie debate was promoted by GRUDES (a film and audiovisual research group from the Tuiuti University of Paraná) on the film Lakay, by filmmakers Jéssica Frazão and Matheus Paladino (2016). The film recounts the life of the Haitian immigrants in southern Brazil, and the event was attended by undergraduate students from the Tuiuti University of Paraná. Among them was a Haitian who had recently arrived in the country. During the debate he participated actively in telling his story in Haiti and the reasons for his emigration to Brazil. This article proposes a reflection on the participation of these students in the debate on the idea of “small crises” in Gumbrecht (2006). The results indicate that the event was an aesthetic experience provided by the oscillation between the effects of sense and presence, reinforcing the German theorist’s arguments .
DOI: 10.6084/m9.figshare.7509824.v1
title: Aesthetic experience on the Lakay movie debate in a Brazilian university

description: Abstract In August 2016, a movie debate was promoted by GRUDES (a film and audiovisual research group from the Tuiuti University of Paraná) on the film Lakay, by filmmakers Jéssica Frazão and Matheus Paladino (2016). The film recounts the life of the Haitian immigrants in southern Brazil, and the event was attended by undergraduate students from the Tuiuti University of Paraná. Among them was a Haitian who had recently arrived in the country. During the debate he participated actively in telling his story in Haiti and the reasons for his emigration to Brazil. This article proposes a reflection on the participation of these students in the debate on the idea of “small crises” in Gumbrecht (2006). The results indicate that the event was an aesthetic experience provided by the oscillation between the effects of sense and presence, reinforcing the German theorist’s arguments .
DOI: 10.6084/m9.figshare.7513730
title: The sentimental life of commodities: the aesthetics of cuteness and its play of power in the art of Jeff Koons

description: Abstract The present paper analyzes a few works by artist Jeff Koons using the vernacular aesthetic category cute. In his sculptures representing critters and toys, Koons gives formal expression to the contradictions and ambiguities of cuteness, making explicit the ambivalent feelings and longings that underpin the relationship between the consumerspectators of late capitalism and the commodities that surround them. Reflecting on commodities and consumption – cultural consumption included – in light of the aesthetics of cuteness helps us, or so we argue, to better understand the very place of art in a globalized circuit increasingly dominated by neoliberal market logic. The work of Koons, one of the most popular and financially successful contemporary artists, is a privileged vantage point from which to observe power shifts in the field of visual arts.