http://repositorio.ufc.br/handle/riufc/21666 Fri, 07 Aug 2026 21:35:49 GMT 2026-08-07T21:35:49Z http://repositorio.ufc.br/handle/riufc/87405 Título: TV Padre Cícero: a trajetória da televisão em Juazeiro do Norte-CE Autor(es): Souza, José Jullian Gomes de Abstract: This thesis is a study on the history of television in Juazeiro do Norte, in the south of Ceará; it examines how religiosity, faith, and the circuit of masses, processions, and Catholic festivities shape the region's television experiences—as exemplified by TV Padre Cícero. The research question is: How did the pioneering process of establishing and developing TV Padre Cícero occur within the context of the expansion and expansion of television in Juazeiro do Norte, Ceará, between 1999 and 2024? The overall objective is to document the trajectory of TV Padre Cícero, beginning with its pioneering implementation of the first television experience in Juazeiro do Norte, between 1999 and 2024. The specific objectives are: a) to present the trajectory of television expansion and expansion in Brazil; b) to understand the transformations of television within the context of television experiences in Juazeiro do Norte; and c) to historiographicalize the trajectory of TV Padre Cícero's expansion and expansion from its pioneering period. The methodological outline is based on a qualitative approach, exploratory research, bibliographical and documentary procedures, and a case study. We adopted the Thematic Oral History (Meihy, 2002; Castelo Branco, 2020) through in-depth interviews with the TV Padre Cícero team. The theoretical framework is composed of contributions from Kehl (1986), Mattos (1990, 2010), Priolli (2000), Jambeiro (2001), Reimão (2006), Amorim (2007), Leal (2009), Ribeiro, Sacramento and Roxo (2010), Carvalho (2010), Kneipp (2017), Muanis (2018), Machado Filho (2020), Neia (2023), Meimaridis and Campanella (2025) and Santos (2025). Based on this thesis, it was possible to conclude that the trajectory of TV Padre Cícero presents an innovative character for Juazeiro do Norte. However, this television experience resembles the history of the implementation and development of television in Brazil since 1950; from its relationship with politicians (such as the Juazeiro do Norte city hall), the economic aspect (with the use of advertising), and the technological aspect (especially digital environments and the reduction in the cost of production equipment and devices). In other words, even with the transformations of television, based on television experiences (broadcast, webcast, and native digital audiovisual productions), which enabled the presence and decentralization of television throughout the Brazilian territory, as exemplified by Juazeiro do Norte, Ceará, TV Padre Cícero continues a television model still in effect in the country. However, it operates on a smaller scale compared to the large media conglomerates. Tipo: Tese Thu, 01 Jan 2026 00:00:00 GMT http://repositorio.ufc.br/handle/riufc/87405 2026-01-01T00:00:00Z http://repositorio.ufc.br/handle/riufc/87272 Título: Entre a pluralidade e a dispersão conceitual: desafios nos estudos em jornalismo na América Latina Autor(es): Roque, Francisco Robson Pereira Abstract: This thesis investigates the conceptual dispersion surrounding studies of journalistic initiatives operating outside conventional media structures in Latin America. These initiatives are characterized by their alignment with progressive sectors and by their proposal of an alternative form of journalism beyond that grounded in the ideals of neutrality and objectivity. The study starts from the premise that categories such as Independent Journalism, Alternative Journalism, Community Journalism, and Peripheral Journalism are frequently used interchangeably, generating classificatory ambiguities and analytical challenges. The objective is to understand how scholars and journalistic initiatives construct, interpret, and contest the meanings of these categories and, based on this process, to propose a relational approach to their understanding. The research adopts a qualitative approach, combining a Systematic Literature Review of 79 scientific articles published between 2015 and 2025, interviews with specialist researchers, and an analysis of the institutional self-descriptions of Latin American journalistic initiatives. Data were organized through Content Analysis and interpreted using Constructivist Grounded Theory. The findings demonstrate that conceptual dispersion stems both from the historical, political, territorial, and organizational heterogeneity of these initiatives and from the different theoretical and methodological frameworks employed in the literature. The analysis shows that the investigated models share recurrent characteristics, organized into four structuring dimensions—political-ideological, socio-relational, organizational-labor, and technical-productive—whose combinations configure distinct journalistic profiles. The dissertation concludes that a configurational and relational perspective provides a more adequate framework for understanding journalistic initiatives than rigid typological classifications, contributing to the conceptual refinement of studies on Latin American journalism and offering an agenda for future research. Tipo: Tese Thu, 01 Jan 2026 00:00:00 GMT http://repositorio.ufc.br/handle/riufc/87272 2026-01-01T00:00:00Z http://repositorio.ufc.br/handle/riufc/85980 Título: Da música ao silêncio: identitarismo prescritivo e a vigilância da representação em Emilia Pérez Autor(es): Peixoto, Marcio Silva Abstract: This research investigates the symbolic, political, and discursive disputes that emerged around the film Emilia Pérez (2024), directed by Jacques Audiard, analyzing how the work was quickly placed at the center of controversies over representation, identity, and cultural legitimacy, being labeled by parts of digital criticism and activist journalism as a "transphobic," "xenophobic," and "racist" work. Instead of taking such accusations as an interpretive starting point, this study proposes to understand them as symptoms of a contemporary reception regime marked by normative identity expectations and moral surveillance, which traverse the cultural field and reorganize the criteria of art legibility. To understand this phenomenon, I developed the concept of prescriptive identitarianism (FRASER, 1995, 2000; BROWN, 1995; HAIDER, 2018; RANCIÈRE, 2009; MONDZAIN, 2013, 2017) as a theoretical-methodological operator intended to describe the set of normative expectations that regulate who can narrate the stories of marginalized subjects (SPIVAK, 2010), which affects are considered legitimate, and which representations are authorized as politically acceptable within contemporary cultural debate. Next, I employ a mixed methodology in the process of analyzing the research corpus: 1. I use a critical-discursive approach supported by the method of critical narrative analysis (MOTTA, 2013), combined with the framing of the linguistic resource of irony as an operator of interpretive communities (HUTCHEON, 2000) and the model of interactional participation (GOFFMAN, 1986), allowing mapping of address mechanisms, symbolic belonging, and production of interpretive consensus; and 2. I make use of diagrams as an analytical resource derived from information design. (BONSIEPE, 2011; WARE, 2012; TUFTE, 2007), allowing the visualization of evaluative and semantic patterns in the analyzed content. The analysis of the five international reviews included in the research corpus (Autostraddle, THEM, CBC Arts, The Pink News, and El País) reveals rhetorical and affective convergences that support the public canceling process of the film, understood here as a media practice inserted in a contemporary moral economy (MISKOLCI, 2025) and articulated with the dynamics of the new digital public space (BOSCO, 2017). The Emilia Pérez case thus emerges as a paradigm for understanding new forms of symbolic policing that affect artistic works addressing social minorities, revealing a contemporary crisis of perception (MONDZAIN, 2013), in which aesthetic ambiguity and dissent tend to be subordinated to moral regimes of visibility and identity correction. Tipo: Tese Thu, 01 Jan 2026 00:00:00 GMT http://repositorio.ufc.br/handle/riufc/85980 2026-01-01T00:00:00Z http://repositorio.ufc.br/handle/riufc/85923 Título: Ontopolítica no audiovisual queer brasileiro: uma cartografia do discurso minoritário drag Autor(es): Zapata, Maximiliano Oscar Abstract: This research aims to investigate the processes of mediatization and cultural interaction of trans and non-binary people through studies in media, gender, and philosophy. It is grounded in reflections on gender, media, and ontopolitical processes, proposing a cartography that includes interactive experimentation on social networks using profiles of trans and non-binary people, especially on TikTok. The method employed is based on the Deleuze–Guattarian rhizomatic model, a method characterized by the absence of centrality and by permanent openness in the process, enabling the construction of a cartography. As an additional methodological procedure, discourse analysis drawing on Michel Foucault is also used. The research is based on the assumption that digital platforms, especially TikTok, have opened up an interactive space for minority expressions, including those of LGBTQIA+ culture, enabling the welcoming of divergent patterns at the level of gender, ideas, and behaviors. The cultural diversity mediatized on social networks raises relevant questions for thinking about the current paradigm of communication and audiovisual media, as well as for processes of identity construction and social inclusion. The underlying question that guided this research and stimulated the cartographic process, albeit rhetorical, is: “who are todes and what are the ontopolitical implications of their process of identity and existential affirmation?” Tipo: Tese Thu, 01 Jan 2026 00:00:00 GMT http://repositorio.ufc.br/handle/riufc/85923 2026-01-01T00:00:00Z