Gramática midiática do medo:a linguagem do real no horror artístico audiovisual

• Ano de defesa: 2011
• Autor(a) principal: Silva, Guilherme Barbosa Reis da
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Programa de Pós-graduação em Comunicação; Comunicação
• Palavras-chave em Português: Medo; Cultura midiática do medo; Horror artístico; Audiovisual; Linguagens autorizadas a falar do Real; Fear; Media culture of fear; Artistic audio-visual horror; Media grammar of fear; CNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAO
• Link de acesso: https://app.uff.br/riuff/handle/1/20258

Fear, the shock of emotion which accompanies the trajectory of men, is the driving force of this work. Fear stirs artistic forms in the fields of literature, fine arts and audio-visual. Seeking to comprehend fear, as in artistic horror, in a culture of fear, a media culture of fear and its representations of reality, this work draws upon ideas which can propitiate an interdisciplinary dialogue on the many connotations of fear and media across time and space. Pertaining to a time of hypermodernity, this dissertation denominates Media grammar of fear the language of the real in artistic audio-visual horror, and selects as its object of study a group of three audio-visual works which have been identified as exemplars of horror cinema: I´m a legend, 2007, by Francis Lawrence; Diary of the dead, 2007, by George A. Romero and Quarantine, 2008, by John Erick Dowdle. Within such conjuncture, this study gravitates around media as represented, particularly, by these page-screens through television journalism, documentaries, professional and amateur videos posted on the Internet , and its agency as related to the Grammar of fear, which is found amidst a variety of genres and applied to artistic audio-visual horror. This grammar may be divided into two subcategories: the traditional Grammar of fear and the media Grammar of fear, with both possessing common as well as specific characteristics, inasmuch as the latter, though aimed at legitimising the real through the language of media, is rooted on a repertoire of rules ultimately drawn from the former.