Da literatura ao audiovisual: as práticas do fandom de Once upon a time na cultura da convergência

Resumo Este artigo objetiva investigar as práticas de fãs brasileiros do seriado norte-americano Once upon a time ao analisar os posicionamentos destes em favor do cancelamento da série por meio da hashtag #cancelouat e a continuidade de produção de fãs através da ficção nas plataformas de fanfic Spirit fanfiction e wattpad. Procura-se considerar, no universo de fãs, o ambiente virtual como um espaço de produção, colaboração e criação. Busca, com a observação dos ambientes virtuais, investigar como as práticas de participação se relacionam com as tecnologias do imaginário aqui exemplificadas pela Literatura e o campo Audiovisual. Tem como arcabouço teórico os estudos culturais com base na bibliografia de Canclini (1997) e os estudos de recepção de Jacks e Toaldo (2017), discutindo a cultura da convergência de Jenkins, (2009). Assim, tal estudo parte da percepção das práticas enquanto processo de resistências, compartilhamento e produção de conteúdos e objetos de mídia, considerando o estudo de culturas de fãs um esforço interdisciplinar que tem como conclusão primária as práticas do fandom cada vez mais pautadas no ambiente digital e ressignificadas pela participação dos sujeitos na constituição das narrativas. Palavras-chave: Once upon a time; estudos de recepção; estudos culturais; fandom; cultura da convergência. Abstract This article aims to investigate the north american series Once upon a time brazilian fans practices from a case study, up to analise their positions about the serie cancellation through a hashtag #cancelouat and the continuity of the fans production through out fiction at the Spirit Fanfiction e Wattpad platforms.. It searches to consider the virtual environment at the fans universe as a production, colaboration and creation space. It aimed to investigate how the participation practices are related to imaginary tecnologies samples here as Literature and Audio visual field. This work has as a theoritic framework the cultural studies based on Canclini´s (1997) bibliography and the reception studies from Jackins and Toaldo (2017), discussing the Jenkins convergency culture (2009). So, the study comes from the practices perceptions while a resistance, sharing and contents production and objects process from mídia, considering the fans cultural studies a interdisciplinar effort which has as a primary conclusion the fandon practices more and more done at a digital environment and re-meaningly itself through the people participation at the narratives constitution. Key words: Once upon a Time; reception studies; cultural studies; fandom; convergency culture; Resumen Este artículo tiene como objetivo investigar las prácticas de los fans brasileños de la serie norteamericana Once upon a time a partir de un caso de estudio, hasta analizar sus posiciones sobre la cancelación de la serie a través de hashtag #cancelouat y sobre la continuidad de la producción de a través de la ficción en el Spirit Fanfiction y plataformas Wattpad. Busca considerar el entorno virtual del universo de fans como un espacio de producción, colaboración y creación. Tuvo como objetivo investigar cómo las prácticas de participación se relacionan con muestras de tecnologías imaginarias como el campo de la literatura y el audiovisual. Este trabajo tiene como marco teórico los estudios culturales basados ​​en la bibliografía de Canclini (1997) y los estudios de recepción de Jackins y Toaldo (2017), discutiendo la cultura de la convergencia de Jenkins (2009). Así, el estudio parte de las percepciones de las prácticas mientras un proceso de resistencia, intercambio y producción de contenidos y objetos de mídia, considerando a los aficionados de los estudios culturales como un esfuerzo interdisciplinar que tiene como conclusión primaria las prácticas fandon cada vez más realizadas en un entorno digital y re -en sentido propio a través de la participación del pueblo en la constitución de las narrativas. Palabras clave: Éra se una vez; estudios de acogida; estudios culturales; fandom; cultura de convergencia.

Spaces of Communication

Semio-pragmatics, an approach to the study of film and audiovisual media first proposed by Roger Odin in the early 1980s, shifted the focus from textual analysis to the interaction of text and context and to the institutional modes of framing and reading which shape the viewer’s engagement with the film. A response to an impasse in post-1968 film semiotics and psychoanalytical approaches to film spectatorship, semio-pragmatics contributed significantly to the further development of film studies alongside Cultural Studies, neo-formalism, historical reception studies and the phenomenology of film. Spaces of Communication offers a concise introduction to semio-pragmatics and condenses the intellectual trajectory of one of the foundational figures of film studies into a relatively short and accessible volume. It is a book which testifies to the author’s deep and rich intellectual engagement with a vast array of objects ranging from the classics of the cinephile canon to television news programs, home movies and mobile phone films.

The Reception of Olivia Manning’s The Great Fortune in Romania

Manning’s (1908-1980) novel The Great Fortune (1960) is the first Second World War novel of a six-part novel series titled Fortunes of War. Set in Bucharest, Romania, the novel portrays the historical events of the first year of the war (1939-1940) and how these affect Romanian society and the English community. The novel was well-received in England, and in 1987 was adapted to a television serial issued by BBC. In Romania, the response of the critics after the communist regime was rather harsh, accusing Manning of misinterpreting Romanian reality. Moreover, considering that Manning portrays not only the wealth of high society but also the misery and the political conflicts of those times with the fascist Guard in the background, it could be stated that in 1960 when the novel was reviewed by the censorship board, it might not have been positively evaluated. Therefore, this article analyses the reception of The Great Fortune in Romania during and after the Communist regime from a historical perspective focusing on critics and censors’ responses to determine whether censorship influenced the reception of the novel in Romania. To undertake this study the censorship files located at the National Archives in Bucharest, as well as articles guarded in various libraries in Romania, were consulted. Keywords: Manning, Second World War, Romania, Bucharest, censorship, criticism, history, reception studies

Paulo maiora canamus Raccolta di studi per Paolo Mastandrea

This miscellaneous volume in honour of Paolo Mastandrea includes contributions by colleagues and friends dealing with some of the main topics of his scientific interests: intertextuality, late Latin studies, philological problems, the legacy of Classics in Renaissance, digital humanities. The first section, «Literary History and Intertextuality», focuses on special patterns in Latin literature within a very wide chronological range, from Vergil to Optatianus. Specific attention is dedicated to elegy and to mythological characters in elegy and tragedy. The section named «Philological Notes» deals with critical problems within texts by Sallustius, Macrobius and Historia Augusta. The following section, «Late Latin studies», is dedicated to several authors and topics: Simphosius’ Aenigmata, Sidonius, Historia Augusta, Claudianus, Epigrammata Bobiensia, Johannes Lydus and literary topoi used in late Latin texts. The final one, «Classical Reception Studies», examines a few examples of the legacy of Latin authors in the Italian Renaissance. A history of the database Musisque Deoque, along with the future perspectives of this crucial project designed in 2005 by Paolo Mastandrea, are provided in a specific «Appendix».

Who the hell is Hades? An examination of Hades' reception within modern film

<p>This thesis seeks to engage with modern receptions of Hades, the ancient god of the underworld, within the medium of film. Although reception studies encompasses a broad variety of themes and subject matters, filmic characterisation (especially that of a deity) is presently an under-represented topic. Hades’ unique persona provides further incentive for this study; not only does he hold an ambiguous position within antiquity but this is similarly echoed throughout much of Hollywood’s own history, up until the turn of the 21st century. Hades’ filmic persona has, however, received a revitalisation within modern blockbusters which draw their inspiration from ancient Greek mythology. With prominent appearances in the likes of Disney’s Hercules (1997), Percy Jackson and the Lightning Thief (2010), Clash of the Titans (2010) and Wrath of the Titans (2012), Hades has now become a staple character within the film industry. Hades’ recent stardom is not without issues. It appears that mass culture has freely refashioned Hades’ mythic persona in order to better fit a particular cinematic presentation, epitomised by Hades’ association with the Judeo-Christian Devil. I will argue, however, that the figure which has resulted does not have to be viewed as marking a rupture with classical thought but should be seen rather as a continuation of Greek mythological concerns. While this suggestion, following Martin Winkler’s theory of neo-mythologism, is not particularly original, I seek to explore it in an entirely new manner, highlighting the iconographical and narrative tropes which define Hades’ filmic persona. This requires a unique approach, one not yet found within contemporary scholarship. In drawing upon modern film theory for inspiration, this thesis seeks to engage with Hades’ reception while letting the medium in question shape the methodology. Such considerations should be fundamental to reception studies.</p>

Who the hell is Hades? An examination of Hades' reception within modern film

<p>This thesis seeks to engage with modern receptions of Hades, the ancient god of the underworld, within the medium of film. Although reception studies encompasses a broad variety of themes and subject matters, filmic characterisation (especially that of a deity) is presently an under-represented topic. Hades’ unique persona provides further incentive for this study; not only does he hold an ambiguous position within antiquity but this is similarly echoed throughout much of Hollywood’s own history, up until the turn of the 21st century. Hades’ filmic persona has, however, received a revitalisation within modern blockbusters which draw their inspiration from ancient Greek mythology. With prominent appearances in the likes of Disney’s Hercules (1997), Percy Jackson and the Lightning Thief (2010), Clash of the Titans (2010) and Wrath of the Titans (2012), Hades has now become a staple character within the film industry. Hades’ recent stardom is not without issues. It appears that mass culture has freely refashioned Hades’ mythic persona in order to better fit a particular cinematic presentation, epitomised by Hades’ association with the Judeo-Christian Devil. I will argue, however, that the figure which has resulted does not have to be viewed as marking a rupture with classical thought but should be seen rather as a continuation of Greek mythological concerns. While this suggestion, following Martin Winkler’s theory of neo-mythologism, is not particularly original, I seek to explore it in an entirely new manner, highlighting the iconographical and narrative tropes which define Hades’ filmic persona. This requires a unique approach, one not yet found within contemporary scholarship. In drawing upon modern film theory for inspiration, this thesis seeks to engage with Hades’ reception while letting the medium in question shape the methodology. Such considerations should be fundamental to reception studies.</p>

Through the looking glass: The Matrix franchise and interpretation

<p>This thesis analyses the reception of the Matrix trilogy by paying close attention to the work of film reviewers, and academic commentators who interpret the films from a religious perspective. The methodology of the project involves using a historical reception studies approach based on the work of Janet Staiger. The film reviews display an interest in the trilogy’s action sequences and its numerous cultural references. As the trilogy proceeds, the reviewers become increasingly concerned about the emphasis on spectacle. I argue that these interests can be understood in terms of debates in Film Studies around the 'cinema of attractions' and the tensions between narrative and spectacle in contemporary Hollywood cinema. The Christian, Buddhist and Gnostic religious academic commentaries all utilise an allegorical approach to the trilogy. As a result, they interpret the films through the prism of good versus evil. They also stress the importance of the acquisition of knowledge. In my opinion, the film reviews and religious interpretations share an interest in unity or singularity. This parallels the narrative of the trilogy, specifically the quest for 'the One'.</p>

Through the looking glass: The Matrix franchise and interpretation

<p>This thesis analyses the reception of the Matrix trilogy by paying close attention to the work of film reviewers, and academic commentators who interpret the films from a religious perspective. The methodology of the project involves using a historical reception studies approach based on the work of Janet Staiger. The film reviews display an interest in the trilogy’s action sequences and its numerous cultural references. As the trilogy proceeds, the reviewers become increasingly concerned about the emphasis on spectacle. I argue that these interests can be understood in terms of debates in Film Studies around the 'cinema of attractions' and the tensions between narrative and spectacle in contemporary Hollywood cinema. The Christian, Buddhist and Gnostic religious academic commentaries all utilise an allegorical approach to the trilogy. As a result, they interpret the films through the prism of good versus evil. They also stress the importance of the acquisition of knowledge. In my opinion, the film reviews and religious interpretations share an interest in unity or singularity. This parallels the narrative of the trilogy, specifically the quest for 'the One'.</p>

Misinformation on Misinformation: Conceptual and Methodological Challenges

Alarmist narratives about online misinformation continue to gain traction despite evidence that its prevalence and impact are overstated. Drawing on research questioning the use of big data in social science and reception studies, we identify six misconceptions about misinformation and examine the conceptual and methodological challenges they raise. The first three misconceptions concern the prevalence and circulation of misinformation. First, the internet is not rife with misinformation or news, but with memes and entertaining content. Second, scientists focused on social media because it is methodologically convenient, but misinformation is not just a social media problem. Third, falsehoods don’t spread faster than the truth, how we define (mis)information influences our results and their practical implications. The second three misconceptions concern the impact and the reception of misinformation. First, people don’t believe everything they see on the internet: sheer volume of engagement should not be conflated with belief. Second, misinformation’s influence on people’s behavior is overblown since it often preaches to the choir. Third, people are more likely to be uninformed than misinformed, surveys overestimate misperceptions and say little about the causal influence of misinformation. To appropriately understand and fight misinformation, future research needs to address these challenges.

Teaching historical literacies to digital learners via popular culture

We argue that students can understand an historical period by building on the foundations of their existing knowledge. Specifically, popular media can be used to develop students’ historical literacies – that is their ability to engage with past societies vastly different from their own. Our methodology takes inspiration from the ancient Romans’ own partial literacies and utilises pedagogy drawn from Classical Reception Studies, which examines how the ancient world has been subsequently reinvented in everything from poetry to cinema. While traditional methods of teaching Classics potentially alienate learners and entrench the discipline’s elitism, we advocate learning about the past from a point of familiarity. Harnessing familiar texts and platforms to teach history can engage non-traditional learners and develop their historical literacies by leveraging pre-existing digital literacies. Furthermore, digital pedagogy fosters in students a sense that they can valuably contribute to disciplinary knowledge by recontextualising ancient sources.