Detalhes bibliográficos
| Ano de defesa: |
2021 |
| Autor(a) principal: |
Rodrigues, Carlos Augusto Alfeld
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| Orientador(a): |
Oliveira, Ana Claudia Mei Alves de
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| Banca de defesa: |
Não Informado pela instituição |
| Tipo de documento: |
Tese
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| Tipo de acesso: |
Acesso aberto |
| Idioma: |
por |
| Instituição de defesa: |
Pontifícia Universidade Católica de São Paulo
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| Programa de Pós-Graduação: |
Programa de Estudos Pós-Graduados em Comunicação e Semiótica
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| Departamento: |
Faculdade de Filosofia, Comunicação, Letras e Artes
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| País: |
Brasil
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| Palavras-chave em Português: |
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| Palavras-chave em Inglês: |
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| Área do conhecimento CNPq: |
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| Link de acesso: |
https://repositorio.pucsp.br/jspui/handle/handle/24430
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Resumo: |
This thesis addresses the organization of the syncretic enunciation of advertising films aired on TV, YouTube, Instagram and Facebook. Considered as a syncretic semiotic object and configured by a global enunciation strategy responsible for placing semionarrative structures on the discursive scene, we assume with Landowski (1992) the enunciation as an act that "makes meaning", concretized in the utterance with the ratification between the two language planes (expression and content). The main issues of this research are: How does the meaning of the advertising films shown in these main media and exhibition platforms emerge? How are the regimes of meaning, interaction and risk woven into the narrative structure of the selected films? How does the discursive organization of advertising in film format happen? To what extent does this discursive organization bring into play different modes of presence of the complex subject of the enunciation? The main hypothesis focuses on the complexity of the narrative structure of the advertising film, since it articulates more than one regime of meaning, interaction and risk, which in turn are no longer focused on the exclusive use of the regime of manipulation and programming. As for the discursive interactions between the complex subject of the enunciation, these are built based on the organization of the apparatus of the syncretic enunciation as it transits through the formats and media between TV, YouTube, Instagram, Facebook, by the respective production devices and, finally, by the devices of display such as smartphones, tablets, notebooks, TVs and smart TVs. Thus, postulating what this research tests, its objectives are both these verifications of the enunciative procedures of the advertising film in different media and formats, explaining them as the interaction, meaning and risk regimes. The analysis of the corpus is based on the theoretical-methodological framework of Discursive Semiotics by Algirdas Julien Greimas, in particular, on the sociosemiotics developments of Eric Landowski, with emphasis on his theorizations on enunciation in act and on the elliptical model of meaning and value. About the language syncretism approach, the basis are Jean-Marie Floch's theories, added to Ana Claudia de Oliveira's, with developments in the treatment of plastic, aesthetic and rhythmic arrangement of the basic plane of expression of discursive interaction modes. The results of this investigation aimed both at disseminating the contributions of the semiotic analysis of the enunciation of syncretic advertising utterances for professionals from advertising agencies and at explaining the semiotic method for training in advertising and advertising |
