Detalhes bibliográficos
| Ano de defesa: |
2017 |
| Autor(a) principal: |
Giannotti, Regina Helena
 |
| Orientador(a): |
Pinheiro, Amálio |
| Banca de defesa: |
Não Informado pela instituição |
| Tipo de documento: |
Tese
|
| Tipo de acesso: |
Acesso aberto |
| Idioma: |
por |
| Instituição de defesa: |
Pontifícia Universidade Católica de São Paulo
|
| Programa de Pós-Graduação: |
Programa de Estudos Pós-Graduados em Comunicação e Semiótica
|
| Departamento: |
Faculdade de Filosofia, Comunicação, Letras e Artes
|
| País: |
Brasil
|
| 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://tede2.pucsp.br/handle/handle/20727
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Resumo: |
The present thesis shows that it is in the intertwining of political, economic, social, cultural and institutional dimensions the place in which communication contracts are created that make certain cultural series visible. A comparison was made between the communication contracts identified in the Brazilian and Argentinean film productions from 2009 to 2016 as a way of highlighting the regimes of (in) visibility and the installation of discourses of the creative economy in the warp that is darkened. In the case of one of the most important in the history of mankind, it can be said that, 2002). In order to understand the gap that formed when the complex relational complexity between man and nature was broken and to analyze the way in which the transference of culture to the economy took place, the studies developed by Celso Furtado, (2008), Pinheiro (2013), Renato Ortiz (2004), Boaventura de Sousa Santos (2010), Morin (2011) and Martin-Barbero (2009). However, in order to understand the problem that arises when one identifies the lack of defined limits for the scope of the so-called "creative economies", insofar as it fuses the boundaries between the economy of culture and knowledge, defended by Reis (2006). In order to make explicit the reasons why the countries have used culture as the fundamental axis of economic development, the definition in development of the "third capitalist spirit" defended as Boltanski and Chiapello (2009) was used. To understand the diverse forces that drive this development such as flexible organization of production, diffusion of innovations and knowledge, change and adaptation of institutions used the thinking advocated by Sennet (2012). In order to add to the already developed reflections two other crucial dimensions when speaking in development: culture and economic growth was used a theoretical basis that adopts the concepts and ideas of culture and economy defended by Celso Furtado (2008); the ideas of culture defended by Roy Wagner (2002) and Amalio Pinheiro (2013) in analyzing the mestizo societies trained in translation; and Richard Sennet (2012) when it addresses the flexibilization of production mediated by creativity and innovation. And finally, the studies developed by Prado (2013) were used to analyze the communication contracts and the (in) visibility regimes created by the installation of the discourse of the creative economies |
