Academic literature on the topic 'Brazilian audiences'
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Journal articles on the topic "Brazilian audiences"
1
André Luiz Maranhão de Souza-Leão and Bruno Melo Moura. "Acculturation of Brazilian NFL Fans in Virtual Interactions." Teoria e Prática em Administração 11, no. 1 (May 29, 2020): 75–92. http://dx.doi.org/10.22478/ufpb.2238-104x.2021v11n1.52141.
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Purpose: NFL is one of the most representative phenomena of contemporary American culture, working as a means to acculturing other audiences to the U.S. environment. Brazil has the second biggest international audience of the league in the world, and part of it is engaged to social networks during game broadcasts. Methodology: The study adopts the netnographic approach as research method, which was based on monitoring Twitter hashtags launched by ESPN channels in Brazil during three seasons, between 2016 and 2019. Results: Our findings reveal three practices of acculturation: comparison between Brazilian and American features, the embodiment of American rituals and routine changes to adjust to the schedule of the league. Theoretical contributions: This research contributes to marketing literature by showing how fan's interaction on social networks about massively mediated entertainment objects (i.e., media sports) can incorporate and resonate in an acculturation process. Practical contributions: Marketing professionals can look at fannish (i.e., prosumerist) interactions to achieve opportunities and competitive advantages based on reliable information acquired on social networks.
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Neves, Josélia. "Subtitling Brazilian Telenovelas for Portuguese Deaf Audiences: An Action Research Project." Tradterm 13 (December 18, 2007): 121. http://dx.doi.org/10.11606/issn.2317-9511.tradterm.2007.47469.
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LSDA, A Legendagem para o Surdo e Deficiente Auditivo, foi inicialmente introduzida na televisão comercial portuguesa em 2003, com a oferta da legendagem de teletexto da novela brasileira “Mulheres Apaixonadas”. Ela seria desenvolvida em um projeto de Pesquisa de Ação que juntaria pesquisadores, praticantes, fornecedores e a comunidade surda num esforço conjunto de encontrar uma solução de legendagem viável para o contexto português. Apesar de que, num primeiro momento, tais legendas puderam ser consideradas legendação intralingual pura, esta provou ser um exemplo de transferência cultural e uma oportunidade para o questionamento de muitas das suposições da LSDA intralingüística tradicional. Isto se deve ao fato de que a mediação em caso significou tornar um texto audiovisual brasileiro em legendas escritas em português europeu para um público de surdos que lê tais legendas como sua segunda língua.
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Viana, Giovanni Bogéa, and Maria Beatriz Felgar de Toledo. "The Brazilian Transparency Portal." International Journal of Web Portals 5, no. 3 (July 2013): 53–70. http://dx.doi.org/10.4018/ijwp.2013070104.
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One of the e-government goals is to enable public access of official information to all citizens. The diversity of the audiences may imply that the way the exposed information is understood may not be homogeneous. An evaluation of the Brazilian Transparency Portal, conducted as part of this research, has corroborated the previous assertion. This evaluation showed that the official classification may limit understanding depending on the public, because it may be unclear or not widespread. Although non-governmental agencies were satisfied with the way information was classified, regular users had several problems for finding information in the Portal. In addition, different users identified distinct classifications for the same data item. Based on these results, a framework was developed to improve the usability of the Portal. A new form of user interface adaptability called “adaptability by classification” was proposed within this framework. The novel aspect of the framework is to allow data presentation in different ways according to the classifications expected by groups of individuals with the main goal of increasing digital inclusion.
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Pascual, Cristian. "Programming Brazilian music for a global film audience." Alphaville: Journal of Film and Screen Media, no. 19 (July 23, 2020): 139–45. http://dx.doi.org/10.33178/alpha.19.11.
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Music is one of the most cherished topics in Brazilian documentary filmmaking. Vinicius (Miguel Faria Jr., 2005), Raul: O início, o fim e o meio (Raul: The Beginning, the End and the Middle, Walter Carvalho, 2012) and Chico: Artista brasileiro (Chico: Brazilian Artist, Miguel Faria Jr., 2015) feature among the most successful Brazilian documentaries from the last twenty years, which makes clear their appeal to national audiences. However, to better articulate their significance it is also crucial to understand them from an international context. The In-Edit – International Music Documentary Film Festival, an event solely devoted to the screening and discussion of music documentaries, allows us to do so. First organised in Barcelona in 2003 and swiftly exported and adapted in multiple countries, the current In-Edit occurs annually in Chile, Brazil, Greece and the Netherlands. Throughout the years, it has also been celebrated in Argentina, Mexico, Germany, Colombia and Peru. In-Edit Brasil was first organised in São Paulo in 2009 and showcases a wide variety of music documentaries both from Brazil and abroad. At the same time, some Brazilian music documentaries are screened in other In-Edits, such as Chile and Spain. In effect, In-Edit organisers hold a privileged perspective on the role that Brazilian music and Brazilian music documentaries play within the international scene. Cristian Pascual (Barcelona, 1980) was the director of In-Edit Barcelona from 2007 to 2019, and he is still part of the organising committee. We met him in São Paulo in 2017, and he provided us with a programmer’s view of music documentaries from all over the world. Despite how political events have altered the country’s international influence in global politics (most notably Jair Bolsonaro taking over as president at the beginning of 2019), we believe that Pascual’s views present a rich reflection on Brazilian specificities regarding the production and reception of music documentaries today.
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Bogo, Adelaide Maria, Alan Christian Schmitt, Elisa Henning, and Margarete L. A. Menegotto. "SOCIAL BEHAVIOR OF BRAZILIAN ORGANIZATIONS: AN ANALYSIS OF ISOMORPHISM MECHANISM." Brazilian Journal of Operations & Production Management 14, no. 1 (May 26, 2017): 102. http://dx.doi.org/10.14488/bjopm.2017.v14.n1.a11.
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Human's behavior is determined by variables that are commonly understood as needs and motives and, in general, it is motivated by a desire to achieve some goal. According to Maslow, these needs are construct on a hierarchy composed of five groups - physiological, safety, love/belonging, esteem and self-actualization. In order to fulfill these needs, organizations have social behavior to address the issues of human beings, individually or collectively way. Therefore, identifying the types of actions performed and then analyzing them in the context of basic human needs, will allow us to understand isomorphic features in the social behavior of these organizations. In this sense, this study aims to analyze the social behavior of Brazilian organizations and the existence of isomorphism in these practices. The sample consists of companies listed on the ISE-BOVESPA stock market and the data were collect in the Sustainability Reports. The methodology utilize Content Analysis technique to define the categories and descriptive statistics to understand the isomorphic behavior. The findings indicate a concentration of actions on the need for ‘Safety’ and the existence of coercive and normative isomorphism in social activities for internal audiences and mimetic isomorphism in actions aimed at external audiences.
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Magaldi, Cristina. "Adopting imports: new images and alliances in Brazilian popular music of the 1990s." Popular Music 18, no. 3 (October 1999): 309–29. http://dx.doi.org/10.1017/s0261143000008898.
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Anyone visiting Brazil today in search of an idealised ‘Brazilian Sound’ might, at first, be disappointed with the popular music scene. The visitor will soon realise that established musical styles such as bossa nova and MPB (Música Popular Brazileira (Brazilian Popular Music)), with their well-defined roles within the Brazilian social and political scene of the 1960s, 1970s, and early 1980s, have lost their immediate appeal with some contemporary audiences, and especially with Brazilian urban youth. In the 1990s, Brazilian radio and TV are saturated with a variety of new local genres that borrow heavily from international musical styles of all kinds and use state-of-the-art electronic apparatus. Hybrid terms such assamba-rock, samba-reggae, mangue-beat, afro-beat, for-rock(a contraction of forró and rock),sertaneja-country, samba-rap, andpop-nejo(a contraction of pop andsertanejo), are just a few examples of the marketing labels which are loosely applied to the current infusion of international music in the local musical scene.
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Brune, Krista. "The Necessities and Dangers of Translation: Brazilian Literature on a Global Stage." Comparative Critical Studies 15, no. 1 (February 2018): 5–24. http://dx.doi.org/10.3366/ccs.2018.0257.
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This article examines how translation helped to establish Brazil as a tropical site of desire for foreign audiences in the nineteenth and twentieth centuries and how translations of contemporary literature often struggle to break free from this established dynamic. By studying the discursive construction of a modern Brazil in the nineteenth century and the practices of translation in contemporary Brazilian literature, I contend that the insertion of Brazil into realms of world literature often depends upon acts of representation and translation that frame the nation and its peoples as exotic. Analysing the Brazilian government's recent translation grants and contemporary English-language anthologies of Brazilian literature reveals a tendency to translate either an exotic Brazil marked by violence and poverty or a global Brazil inhabited by cosmopolitan characters. The piece concludes by reflecting on how a politics of untranslatability could transform the translation and global circulation of Brazilian literature.
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Oliveira, Genaro. "A “great priest of civilization”: Reinterpreting Victor Meirelles’ A Primeira Missa through newspapers." Brasiliana: Journal for Brazilian Studies 9, no. 1 (September 5, 2020): 194–215. http://dx.doi.org/10.25160/bjbs.v9i1.120083.
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Using newspapers as primary sources, this article presents an innovative analysis of Victor Meirelles’ A primeira missa no Brasil (1860). Beyond canonical interpretations of Meirelles’ work as an erudite depiction of the beginning of Brazil’s history in 1500, the article demonstrates that for viewers of that time the painting also, and above all, represented the beginning of the history of Brazilian art in the 1800s. It demonstrates this by following general art debates in newspapers of the period, specifically in the years before and after the highly anticipated return of the young Meirelles from his European sabbatical. Debates in the press illustrate how Meirelles’ significance for nineteenth-century audiences in particular, and for Brazilian art history as whole, can only be fully decoded by situating the artist within Brazilian elites’ political-intellectual efforts to achieve European-style civilisational progress during the first decades of the post-independence period.
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Reily, Suzel Ana. "Música sertaneja and migrant identity: the stylistic development of a Brazilian genre." Popular Music 11, no. 3 (October 1992): 337–58. http://dx.doi.org/10.1017/s0261143000005183.
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Música sertaneja could be considered the Brazilian counterpart to American ‘country’ music. What defines the genre is not its rhythmic patterns, which vary considerably, but a performance style involving duplas (duos) singing in parallel thirds to the accompaniment of a guitar and a viola. Having developed out of southeastern traditional genres, it is the popular musical style that most appeals to migrants from these regions now living in the industrial centres of Greater São Paulo. Although today música sertaneja is primarily an urban phenomenon, the style also reaches audiences throughout the rural areas of central and southeastern Brazil.
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Hahner, June E. "Recent Research on Women in Brazil." Latin American Research Review 20, no. 3 (1985): 163–79. http://dx.doi.org/10.1017/s0023879100021737.
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The last half-dozen years have witnessed an outpouring of Brazilian publications, both rigorous academic studies and popular essays, on women and their roles and activities within Brazilian society. Since the late 1970s, publishers and educated audiences have demonstrated an active interest in works on women that contrasts sharply with the hostile reception accorded Betty Friedan and the Brazilian translation of her Feminine Mystique in 1971. What was once a subject for ridicule has become a timely topic. In 1980 a compendium of the year's nonfiction titles revealed more books listed under the heading of feminism than under biology or botany, and almost as many as under anthropology or cooking.1 The expanding publications on socially determined sex roles have accompanied the development of a small, but active, feminist movement and a general increase in publishing activities in Brazil as the “redemocratization” process gains strength and readers seek more information on previously forbidden topics.
Dissertations / Theses on the topic "Brazilian audiences"
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John, Valquíria Michela. "Mundos possíveis e telenovela : memórias e narrativas melodramáticas de mulheres encarceradas." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2014. http://hdl.handle.net/10183/102302.
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A proposta desta pesquisa foi a de conhecer como o cotidiano de mulheres em situação de confinamento se (re)configura a partir da mediação da telenovela nesse novo ambiente de socialização. De que modo o ver telenovela nesse ambiente bem como suas memórias de recepção do gênero e sua matriz cultural articulam mundos possíveis na prisão. Busca, ainda, compreender como as memórias da telenovela se articulam às memórias pessoais e qual a importância dessa narrativa em seu dia a dia. A partir das proposições da “Metodologia dos mundos possíveis” de Luis Jesus Galindo Cáceres e das mediações de Jesus Martín-Barbero buscou-se compreender como a telenovela medeia seu cotidiano, como articula outros mundos que vão além dos limites impostos pelas grades e como estes mundos se relacionam com as temporalidades da prisão, bem como de suas memórias. Discute também como esse cotidiano medeia a relação com a telenovela, sobretudo a partir de suas memórias e relatos de vida, mas também da observação desse cotidiano e dos relatos sobre o momento vivido, de modo a correlacionar suas memórias (antes do ingresso na prisão) e as expectativas futuras. O estudo foi realizado no Presídio Regional de Itajaí, Santa Catarina, para o qual foram entrevistadas oito mulheres de diferentes faixas etárias, regimes e tempo de cumprimento de pena. A principal técnica adotada foi a história de vida em consonância com a proposição da metodologia dos mundos possíveis. Estes relatos foram tensionados na correlação entre memória, tempo presente e futuros contingentes e de que modo a telenovela participa desse processo de construção e reconstrução do cotidiano e de mundos possíveis. Os resultados apontam para uma “memória do melodrama” e um processo de construção de mundos possíveis a partir da identificação e projeção de suas trajetórias nas trajetórias das personagens da telenovela, sobretudo no que se refere às memórias e práticas relacionadas à família.The purpose of this research was to know how the everyday of incarcerated women (re)configures itself from the telenovela mediation in this new environment of socialization. How the action of watching telenovelas in this environment and how their memories of reception of this genre and its cultural matrix articulates possible worlds in prison. Seeks to understand yet how the memories of the telenovelas articulate to the personal memories and which the importance of this narrative in their everyday lives is. From the propositions of the “Possible Worlds Methodology”, from Luis Jesus Galindo Cáceres, and Mediations Theory, from Jesus Martín-Barbero, seeks to understand how the telenovela mediates their daily routine, how it articulates others worlds beyond the limits imposed by the time slots and how these worlds relate to the temporalities of prison, and their memories. It also discusses how this everyday mediates the relationship with the telenovela, especially from the memories and life stories, but also from the observation of this everyday life and the stories about the moment lived, in order to correlate their memories (before being sent to prison) and the futures expectations. The research was done at Presídio Regional de Itajaí, Santa Catarina, for which eight women of different ages, regimes, and time of imprisonment were interviewed. The main technique adopted was the Life Story in line with the proposition of possible worlds methodology. These stories were tensioned in the correlation between memory, present time and future contingent and how the telenovela participates of the construction and reconstruction of the everyday life and possible worlds process. The results points to a “melodrama memory” and to a possible world construction process from the identification and projection of their trajectories in the characters’ trajectories in the telenovela, especially as regards to memories and related family practices.
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Luca, Walter Alberto de. "A TV DE MASSA E AS NOVAS ESTRATÉGIAS NARRATIVAS - Um estudo sobre audiências e programas contemporâneos." Universidade Metodista de São Paulo, 2011. http://tede.metodista.br/jspui/handle/tede/939.
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Previous issue date: 2011-03-17This thesis reflects about the decline of the audience of the big broadcast television networks and how producers deal with this global trend. It brings an overview about the matter in the world and focuses particularly the case of Brazil, where the three main television channels have had historically some of the highest rates of audience compared to the major networks of other countries. After analyzing the fragmentation of televiewing audiences in the last two decades and the numbers that show the increasing dispersion of the public attention among the multiples choices of media available nowadays, the study discuss the strategies of programming and content construction based on writers and producers opinions and on the exam of important TV programs. The purpose is to expose the efforts required to attract, sustain and retain televiewers attention. These efforts start with audience measurements and researches about consumers attitudes and interests toward TV, which defines the agenda of themes and the techniques to write, direct and edit programs. The research discusses also how exposure of televiewers occurs in an environment where consumers have multiple choices of screens to choose television programs and other media activities. It considers that exposure is an essential condition to support the study of other approaches of the communication process, such as the influence of the media over culture and society. In a context where media occupies so much time of our personal life, the impact of the mass media might be proportionally direct to the number of people they reach, to the habits of consuming information and entertainment and to the time dedicated to accessing them.
Esta tese aborda o declínio da audiência das grandes redes de TV aberta e os recursos narrativos que os produtores de programas adotaram para enfrentar essa tendência mundial. O estudo traz um panorama da situação da audiência no âmbito internacional e foca, particularmente, o caso do Brasil, onde três grandes emissoras mantém, no conjunto, uma das mais altas concentrações de público do mundo. Depois de analisar a fragmentação das audiências televisivas nas duas últimas décadas e os números que indicam a crescente dispersão dos telespectadores entre múltiplas ofertas de mídia disponíveis nos dias atuais, o trabalho discute as estratégias de programação e de construção de conteúdos. Além de teóricos que pesquisaram a chamada semiótica televisiva , servem de base para a investigação depoimentos de produtores e análises de programas de grande audiência. O objetivo é revelar os procedimentos utilizados para atrair e manter a atenção dos telespectadores, os quais começam com as medições de audiência e os estudos sobre o comportamento dos consumidores em relação à TV. A tese discute também como ocorre a exposição dos telespectadores em um ambiente onde existem várias opções de dispositivos para ver atrações televisivas ou para fazer outras atividades comunicacionais. A escolha deste tema de investigação partiu do princípio de que a exposiçao é condição essencial para sustentar o estudo de outras fases e outros aspectos do processo de comunicação, como a influência dos meios sobre a cultura e a sociedade. Em um contexto onde a mídia ocupa tanto tempo de nosso cotidiano, o impacto dos meios de comunicação de massa pode ser diretamente proporcional ao número de pessoas que eles alcançam e aos nossos hábitos de consumo de informação e entretenimento.
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Rinaldi, Camila Ladeira Scudeler. "Um olhar sobre a criação atoral e a relação com o espectador - os filhos da Dita." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/27/27155/tde-26052014-143431/.
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Esta pesquisa debruça-se no meu processo de criação atoral no espetáculo Os filhos da Dita, do Núcleo Arlequins da Cooperativa Paulista de Teatro, tendo como base teórico/prática principal o treinamento psicofísico proposto pelo encenador-pedagogo Vsévolod Meyerhold, buscando sublinhar as demandas e possibilidades de uma postura política consequente em cena. A partir das relações estabelecidas desde a escolha do tema, o desenvolvimento da dramaturgia e posterior criação cênica propriamente dita, busco descrever os estímulos e motivações que me conduziram na criação cênica em diálogo com a estética desenvolvida pela companhia há 25 anos, e o posterior contato estabelecido com o espectador.This research lies on my acting creative process in the play called Os filhos da Dita, of Arlequins (Theatre group that belongs to the Cooperativa Paulista de Teatro), having as main theoretical/practical basis the psycho physical training proposed by pedagogue-director Vsévolod Meyerhold, aiming at underling the demands and possibilities of a consequent political posture on stage. Based on the relationships established with various artists involved in a creative process from choosing the play theme, dramaturgy development and following scenic creation, I describe the stimulus and motives that led me in the scenic creation. The procedures are developed in open dialogue with the esthetics held by the group in the last 25 years, and subsequent contact established with the audience.
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Almeida, Gabriela Sandes Borges de. "Projeto Pixinguinha: 30 anos de música e estrada." reponame:Repositório Institucional do FGV, 2009. http://hdl.handle.net/10438/2693.
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This study investigates the role of the Projeto Pixinguinha within public policies intended to support, democratize and provide access to the cultural wealth of Brazil during two specific historical moments: the 1970s, when the project was created, and the first decade of the twenty-first century, focusing on the period between 2004 and 2007. Together with the study of this trajectory, some of those responsible for the project between 2004 and 2007 were interviewed, particularly those connected to public power at the municipal, state and federal levels. Using all this information, a panorama is traced of the work done by the project, its mission to popularize Brazilian music and its role in forming audiences.
Este estudo tem por objetivo investigar o papel do Projeto Pixinguinha no universo das políticas públicas de incentivo, democratização e acesso aos bens culturais no país, em dois momentos históricos específicos: os anos 1970, quando foi criado, e os anos 2000, com análise específica de 2004 a 2007. Aliado ao estudo dessa trajetória, foram colhidos depoimentos de alguns dos atores sociais envolvidos na execução do Projeto de 2004 a 2007, em especial aqueles ligados ao poder público nas esferas municipal, estadual e federal. Com a reunião desses elementos, foi traçado um panorama de atuação do Projeto Pixinguinha e sua missão de difundir a música brasileira e formar plateias.
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Ferreira, Raquel Marques Carriço. "A experiência da audiência das telenovelas em Portugal: um modelo a partir da teoria fundamentada em dados." Doctoral thesis, Faculdade de Ciências Sociais e Humanas, Universidade Nova de Lisboa, 2010. http://hdl.handle.net/10362/5105.
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This research is about the spectatorship of Brazilian and Portuguese soap
operas in Portugal. The Grounded Theory approach was employed to
derive a “SOAP OPERAS SPECTATORSHIP MODEL” firmly rooted in the
perspectives of 49 soap operas viewers. The resulting model reveals three
groups of motives for viewing soap operas: a) mood management, b)
habit, and c) social integration/ learning. Within the model, each
motivation group is associated with a particular strategy and level
of exposure to soap operas, as well as predominant choices about the
soap opera’s national or foreign origin. With regard to Portuguese soap
operas, particular attention is paid to the receptor´s social integration and
learning, the latter allowing him/her to use the contents in his/her
personal context: The receptor is being counseled in the taking of
decisions, given the opportunity to evaluate feelings and
behaviors, and to confirm or adjust attitudes, styles and behaviors. With
regard to Brazilian soap operas, the motive of mood management is
highlighted, though not excluding the other above mentioned groups of
motives. Establishing the relationships between the concepts
identified in the research, the study presents the viewers´ experiences
with soap operas in Portugal.Assistir às telenovelas brasileiras/portuguesas em Portugal é o tema investigado neste trabalho. A abordagem da “teoria fundamentada em dados” foi empregada na investigação para prover um “MODELO DA AUDIÊNCIA DAS TELENOVELAS” firmemente enraizado na perspectiva de quarenta e nove receptores entrevistados. O modelo resultante revela três grupos de motivos para a audiência: a) Gerenciamento do humor, b) hábito e c) Aprendizagem/Integração social. Cada grupo de motivos no modelo se associa a particular estratégia e intensidade de exposição às telenovelas, como também se associa as escolhas preponderantes das telenovelas por sua origem, se nacional e/ou estrangeira. Em destaque para a seleção das telenovelas portuguesas é identificado o uso dos seus conteúdos para integração social e aprendizagem/aconselhamento, este último permitindo ao receptor verificar a validade de sentimentos e comportamentos, aconselhamento para tomada de decisões, reforço/ajuste de atitudes, estilos e condutas para incremento da credibilidade e posição pessoal. Em destaque para a seleção das telenovelas brasileiras é identificado os motivos de Gerenciamento de Humor, muito embora de forma não excludente às outras categorias de motivos mencionadas. Com o estabelecimento das relações entre os conceitos surgidos na pesquisa indutiva, o estudo representa as experiências dos receptores das telenovelas em Portugal.
Lisboa
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Ferreira, Raquel Marques Carriço. "A experiência da audiência das telenovelas em Portugal: um modelo a partir da teoria fundamentada em dados." Faculdade de Ciências Sociais e Humanas, Universidade Nova de Lisboa, 2010. http://ri.ufs.br/jspui/handle/riufs/8710.
Full textAbstract:
This research is about the spectatorship of Brazilian and Portuguese soap
operas in Portugal. The Grounded Theory approach was employed to
derive a “SOAP OPERAS SPECTATORSHIP MODEL” firmly rooted in the
perspectives of 49 soap operas viewers. The resulting model reveals three
groups of motives for viewing soap operas: a) mood management, b)
habit, and c) social integration/ learning. Within the model, each
motivation group is associated with a particular strategy and level
of exposure to soap operas, as well as predominant choices about the
soap opera’s national or foreign origin. With regard to Portuguese soap
operas, particular attention is paid to the receptor´s social integration and
learning, the latter allowing him/her to use the contents in his/her
personal context: The receptor is being counseled in the taking of
decisions, given the opportunity to evaluate feelings and
behaviors, and to confirm or adjust attitudes, styles and behaviors. With
regard to Brazilian soap operas, the motive of mood management is
highlighted, though not excluding the other above mentioned groups of
motives. Establishing the relationships between the concepts
identified in the research, the study presents the viewers´ experiences
with soap operas in Portugal.Assistir às telenovelas brasileiras/portuguesas em Portugal é o tema investigado neste trabalho. A abordagem da “teoria fundamentada em dados” foi empregada na investigação para prover um “MODELO DA AUDIÊNCIA DAS TELENOVELAS” firmemente enraizado na perspectiva de quarenta e nove receptores entrevistados. O modelo resultante revela três grupos de motivos para a audiência: a) Gerenciamento do humor, b) hábito e c) Aprendizagem/Integração social. Cada grupo de motivos no modelo se associa a particular estratégia e intensidade de exposição às telenovelas, como também se associa as escolhas preponderantes das telenovelas por sua origem, se nacional e/ou estrangeira. Em destaque para a seleção das telenovelas portuguesas é identificado o uso dos seus conteúdos para integração social e aprendizagem/aconselhamento, este último permitindo ao receptor verificar a validade de sentimentos e comportamentos, aconselhamento para tomada de decisões, reforço/ajuste de atitudes, estilos e condutas para incremento da credibilidade e posição pessoal. Em destaque para a seleção das telenovelas brasileiras é identificado os motivos de Gerenciamento de Humor, muito embora de forma não excludente às outras categorias de motivos mencionadas. Com o estabelecimento das relações entre os conceitos surgidos na pesquisa indutiva, o estudo representa as experiências dos receptores das telenovelas em Portugal.
Lisboa
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Mercier, Catherine G. "Interpreting Brazilianness: Reception and Representation in the Brazilian Music Scenes of Toronto and Montreal." Thesis, 2013. http://hdl.handle.net/1807/43562.
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In Toronto and Montreal, Brazilian popular music performances constitute a context for intercultural encounter. Performances offer Brazilians the opportunity to present their culture of origin while emphasising their identification with it. The issue of representation is quite complex, however, due to the involvement of a majority of non-Brazilian musicians, audience members, artistic directors, producers, promoters, and journalists.
This dissertation focuses on music reception and cultural representation and how these may influence each other after music has been decontextualised and recontextualised. I look closely at local non-Brazilian audiences possessing different degrees of familiarity with Brazilian music, and I demonstrate how cultural stereotypes influence their conceptions and expectations of Brazilian music, culture, and people. I argue that a desire for cultural difference and the exotic, encouraged by discourses of cultural diversity, influences the reception of performances. I suggest that, through the privileged gaze of non-Brazilian attendees, performances may be adjusted to correspond to audience fantasies of Brazil. Some non-Brazilians would like to become knowledgeable of, and even intimate with Brazilian culture, which would satisfy their desire to be cosmopolitan. However, pleasure frequently matters more to them than a nuanced understanding of Brazilian culture; this explains, I contend, why some Torontonians and Montrealers have become comfortable with essentialist and stereotypical representations.
I examine how some non-Brazilian musicians, promoters, and band agents reinforce mythologies of Brazil to meet audience demands and sometimes to satisfy their own fantasies. I analyse the reproduction of similarly problematic discourses on Brazil in the presentations of Brazilian artists as both a form of autoexoticism and a particular type of tactical or strategic essentialism.
Rather than to represent and understand Brazilian culture, I argue that, through local music performances, Brazilians and non-Brazilians in Toronto and Montreal interpret Brazilianness.
Books on the topic "Brazilian audiences"
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Eakin, Marshall C. Brazilian Historical Writing. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199225996.003.0022.
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This chapter addresses how, starting in the 1940s, historical writing in Brazil was gradually professionalized and then pluralized under the impact of Western historiographical trends such as Marxism, the Annales School, and dependency theory. With the independence of Brazil in 1822, gentlemen scholars began to produce the first notable historical works that helped define the nation’s identity, particularly focusing on Brazil’s culturally and racially mixed heritage of Africans, Native Americans, and Portuguese. Professional academic history began to emerge in the 1940s and 1950s, taking off after 1960. Over the last half-century, Brazilians have constructed a very sophisticated and vibrant community of professional historians writing for both academic and non-academic audiences. Although historical writing in Brazil over the last century has been deeply influenced by US and European historians, Brazilian historical writing today is largely shaped by domestic issues and concerns.
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Lehnen, Jeremy. Neo-Authoritarian Masculinity in Brazilian Crime Film. University Press of Florida, 2022. http://dx.doi.org/10.5744/florida/9781683402541.001.0001.
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An incisive analysis of contemporary crime film in Brazil, this book focuses on how movies in this genre represent masculinity and how their messages connect to twenty-first-century sociopolitical issues. Jeremy Lehnen argues that these films promote an agenda in support of the nation’s recent swing toward authoritarianism that culminated in the 2018 election of far-right president Jair Bolsonaro. Lehnen examines the integral role of masculinity in several archetypal crime films, most of which foreground urban violence, including Cidade de Deus, Quase Dois Irmãos, Tropa de Elite, O Homem do Ano, and O Doutrinador. Within these films, Lehnen finds representations that criminalize the poor, marginalized male; emasculate the civilian middle-class male intellectual, casting him as unable to respond to crime; and portray state security as the only power able to stem increasing crime rates. Drawing on insights from masculinity studies, Lehnen contends that Brazilian crime films are ideologically charged mediums that assert and normalize the presence of the neo-authoritarian male within society. This book demonstrates how gendered scripts can become widely accepted by audiences and contribute to very real power structures beyond the sphere of cinema.
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Muir, Stephanie. Studying City of God. Liverpool University Press, 2008. http://dx.doi.org/10.3828/liverpool/9781903663592.001.0001.
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A leading example of a resurgent Latin American cinema — ‘la buena onda’ — in the early twenty-first century, City of God was a huge international popular and critical success. A combination of intoxicating, Hollywood-style genre film-making and hard-hitting, social-realist subject matter, it was hailed as a masterpiece at Cannes in 2002 and seen by over 3 million people in Brazil, including the Brazilian cabinet. This book considers: The historical and industrial context of City of God — a brief history of Latin American cinema is followed by a more detailed account of film-making in Brazil — from light-hearted travelogues to Cinema Novo and after — all in the context of increasing globalisation; Narrative and Genre — how the film uses the components of narrative in a complex way, experimentally manipulating time while using traditional genre conventions that are highly recognisable to mainstream audiences; Film language — the formal elements of the film are dissected through a detailed illustrated analysis of the kinetic, scene setting opening sequence; Audience responses — from establishment critical reaction to fan-based internet sites and student feedback; Representation and Ideology — just how ‘authentic’ can a film such as City of God hope to be? Does its style overwhelm its subject matter?
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Sharp, Daniel B. “I Go Against the Grain of Your Memory”. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190842741.003.0004.
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This chapter charts the artistic trajectory of northeastern Brazilian poet, singer, writer, playwright and actor José Paes de Lira, known as Lirinha, situating his experiments as a long-standing attempt to reject and revise the regional folklorism within which audiences and critics often received his performances. The chapter examines Lirinha’s work, both as the visionary behind the nationally acclaimed group Cordel do Fogo Encantado (1998–2010) and in his subsequent musical and theatrical efforts. It also traces Lirinha’s turn away from folklorism as a reaction against narratives of “cultural rescue” that pressured him to uphold static notions of cultural roots. Reinforcing an overarching argument within this volume, Sharp argues that Lirinha’s work is culturally transformative within its particular field of cultural production, even if it is not always audible as experimental.
Book chapters on the topic "Brazilian audiences"
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Benamou, Catherine L. "Redefining Latinidad: Latinxs in Miami and Madrid and Brazilian Identity in Diasporic Perspective." In Transnational Television and Latinx Diasporic Audiences, 187–216. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-11527-1_5.
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Ewing, Kamahra. "Nollywood in Rio: An Exploration of Brazilian Audience Perception of Nigerian Cinema." In Art, Creativity, and Politics in Africa and the Diaspora, 103–24. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-91310-0_6.
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Carter, Eli Lee. "Conclusion." In The New Brazilian Mediascape, 161–66. University Press of Florida, 2020. http://dx.doi.org/10.5744/florida/9781683401834.003.0008.
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Although more changes will certainly arise as the transformations to the Brazilian mediascape continue to take hold, it is clear that the confluence of legislative, technological, economic, and creative factors during the post-2011 context have given way to the most competitive mediascape in the history of Brazil. This particular moment represents a snapshot of Brazil, where the increasingly diverse field of television and Internet fiction is altering the relationships between distributor and producer and producer and viewer, and where a hegemonic force like Globo struggles to maintain and reproduce its audiences in the face of a number of subnational, transnational, and global movements, organizations, and technologies. In short, in the new Brazilian mediascape, while Globo competes with national and international pay-television channels, YouTube, and Netflix and while telenovelas compete with series, both local and foreign, more Brazilians in more parts of Brazil are faced with more symbolic portrayals of the nation than ever before. The result is a Brazil reframed by the small screens.
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Stephanie, Dennison. "Engaging with audiences at home and abroad." In Remapping Brazilian Film Culture in the Twenty-First Century, 32–56. Routledge, 2019. http://dx.doi.org/10.4324/9781315652030-3.
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Goldschmitt, K. E. "From Fusion to Funk." In Bossa Mundo, 76–105. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190923525.003.0004.
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This chapter investigates how Brazilian musicians adjusted their approach to appealing to audiences in the United States and the United Kingdom once the Brazilian military dictatorship descended into the “Leaden Years.” Many Brazilian musicians sought to affiliate themselves with sounds that more directly linked them to the African diaspora and the Otherness of Brazilian indigeneity. Drawing on the coverage of this music in major music periodicals of the era, it shows the ways that attention to Brazilian music changed after the height of bossa nova. It features close discussions of the penetration of Brazilian musicians into the jazz fusion and funk scenes, including analyses of landmark recordings by Milton Nascimento, Sérgio Mendes, Airto Moreira, Flora Purim, and Deodato.
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Conde, Maite. "Toward New Cinematic Foundations." In Foundational Films, 242–46. University of California Press, 2018. http://dx.doi.org/10.1525/california/9780520290983.003.0012.
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Adalberto Kemeny and Rodolfo Lustig’s dependency on São Paulo’s industrial and political elite to produce São Paulo, Symphony of a Metropolis was not exceptional. By the late 1920s American films occupied 80 percent of the Brazilian market, leaving little space for local production. Without full access to the domestic market, producers could not achieve adequate returns on their investments, and consequently the process of capital accumulation within the industry was stifled, as was production. Even the temporary disruption of the coming of sound did not end Hollywood’s ubiquity in Brazil. In fact, the arrival of the talkies further entrenched US cinema’s presence. The high costs of acquiring synchronized equipment meant that local investment lagged behind Hollywood and allowed the North American industry to maintain its hegemony. By the early 1930s, North American dubbing and subtitling techniques had proved popular among Brazilian audiences, and Hollywood increased its presence in the country. In the face of North America’s dominance, domestic production was unstable and unprofitable, and local producers were mostly unable to attain a sufficient return on their investments to allow them to develop on a larger scale. ...
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Terra, Carolina Frazon. "The Digital Influence Ecosystem and Its Relation to Organizational Communication." In Navigating Digital Communication and Challenges for Organizations, 20–38. IGI Global, 2022. http://dx.doi.org/10.4018/978-1-7998-9790-3.ch002.
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The digital influencer market has been growing by significant numbers year after year (data from the Influencer Marketing Hub predicts USD $16.4 billion by the end of 2022). In a post-coronavirus pandemic landscape, organizations have relied more on digital influencers to reach their audiences on digital social platforms, as shown by the results of the ROI & Influence 2021 Survey by YouPix (71% of companies consider influencer marketing important in their communication strategies and intend to increase investment in that area). This chapter discusses the ecosystem that makes up digital organizational influence and its possibilities and shows its correlation with organizational communication. It compares the organizational communication with the integrated communication composite by the Brazilian researcher Margarida Kunsch and explores how organization influence fits into each of the diagram's communication pillars: internal, market, and institutional.
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Krolow, Priscila Jaekel, Patrícia Dias, and Sara Manuela Lopes Oliveira. "How Small Companies Used Shopstreaming in Their Fight for Survival in a COVID-19 Scenario." In Navigating Digital Communication and Challenges for Organizations, 76–92. IGI Global, 2022. http://dx.doi.org/10.4018/978-1-7998-9790-3.ch005.
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The digital acceleration triggered by COVID-19 was a disruptive transformation of society, which was not prepared for such quick changes in socialization, work, and consumption, among other activities. We were forced to reinvent ourselves, to pursue the continuity of our daily routines using tools already available, because there was no time to invent better ones. In this context, live performances on social media became very successful as a zero-cost (both for content producers and audiences) and highly engaging format. Brands, and particularly small companies, quickly took over this new tool, adopting a practice that had already emerged a few years ago, consisting of using live streaming as a channel for showcasing products and selling, thus being an alternative to the mandatory closure of stores. In order to better understand this emergent practice, this chapter looks into two examples: Mh2, a Brazilian fashion accessories company which used lives on Instagram to sell its products, and São Costureira, a Portuguese clothing brand which did the same using Facebook.
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Horvath, Christina. "Can literary events use Co-Creation to challenge stigmatisation?" In Co-Creation in Theory and Practice, 155–72. Policy Press, 2020. http://dx.doi.org/10.1332/policypress/9781447353959.003.0010.
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This chapter takes a comparative approach to two initiatives developed by artists and cultural promoters from the Global North and South, to challenge clichés attached to French banlieues and Brazilian favelas as places devoid of the production and consumption of literary texts. The ‘Dictée des Cités’, a spelling competition promoted since 2013 in French banlieues by writer Rachid Santaki, and the ‘Literary Festival of the Urban Periphery’ (FLUP) curated in Rio de Janeiro since 2012 by writers Julio Ludemir and Écio Salles, are analysed through the lens of Co-Creation as examples of artist-driven initiatives to encourage large local audiences’ engagement with literary texts, transform literary institutions and canons and challenge stereotypes associated with urban peripheries. While the chapter seeks to evaluate the potential of large-scale literary events to change the perception of disadvantaged urban areas, it also explores differences between the Global North and South. The chapter ends with the conclusion that socially engaged arts festivals and Co-Creation events may promote similar aims, they however differ in their scale, approaches to knowledge production as well as in their strategies promoting engagement with creative methods.
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Carter, Eli Lee. "Entering Television through the Porta dos Fundos." In The New Brazilian Mediascape, 91–112. University Press of Florida, 2020. http://dx.doi.org/10.5744/florida/9781683401834.003.0005.
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The present chapter begins by delving deeper into the Brazilian mediascape during the period between 1990 and 2011, revealing the early appearance of developments that challenged TV Globo’s audience shares over the two decades. This first part of the chapter sets the stage for the subsequent emergence of Porta dos Fundos, a recently formed independent production company and YouTube sensation. The remainder of the chapter explores the Pay-TV Law and the post-2011 mediascape through an analysis of Porta dos Fundos’s formation, founders, partnerships, and multimedia production.
Conference papers on the topic "Brazilian audiences"
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Guimarães, Samuel, and Fabrício Benevenuto. "Characterizing Reactions and Comments Associated with News on Facebook." In Anais Estendidos do Simpósio Brasileiro de Sistemas de Informação. Sociedade Brasileira de Computação (SBC), 2021. http://dx.doi.org/10.5753/sbsi.2021.15370.
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News consumption is increasingly done on social media websites. In this environment, all types of entities and people present themselves as news sources. These new outlets might focus on specific audiences, and some exhibit the news less objectively. Facebook is one of these platforms, which categorizes an extensive group of pages as a kind of news media. To analyze this phenomenon, it is crucial to characterize all pages that disseminate information in this ecosystem. Our main objective is to create an in-depth diagnostic of news stories and opinions, focusing on Brazilian Facebook. Our contributions are: (i) a new method to measure the political bias of Facebook pages on a given country, and (ii) a detailed characterization of a comprehensive sample of these pages.
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LIMA, GUSTAVO HENRIQUE GARCIA, VINICIUS SAMUEL PEREIRA SILVA, FERNANDO PEREIRA LOPES, JOSE GUILHERME COELHO BAETA, and MICHELE SANTOS PIMENTEL. "AUDIÊNCIA DE CUSTÓDIA - GARANTISMO OU MERA POLITICA DESCARCERIZANTE." In Brazilian Congress. brazco, 2020. http://dx.doi.org/10.51162/brc.dev2020-00054.
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O presente artigo tem por finalidade demonstrar o principal sentido da implementacao das audiencias de custodia. Apos breve introducao conceitual e analise da cronologia de aplicacao do instituto, desenvolveu-se uma leitura do cenario situacional do Estado. O estudo culminou no entendimento de que as audiencias de custodia foram instituidas sob uma egide garantista, mas nao passou de mera politica de esvaziamento do sistema prisional brasileiro.,
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Basilio, Samuel da Costa Alves, Marcelo Ferreira Moreno, and Eduardo Barrére. "Interaction and audience analysis in interactive digital TV systems." In the 18th Brazilian symposium. New York, New York, USA: ACM Press, 2012. http://dx.doi.org/10.1145/2382636.2382712.
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dos Santos, Camila, and Andreia Machado Oliveira. "Communication Action Zones in Art and Technology - ZACAT." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.101.
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Communication Action Zones in Art and Technology, in portuguese Zonas de Ações Comunicacionais em Arte e Tecnologia – ZACAT – is a master's research developed in Brazil, made before and during the SARS-CoV-2 virus pandemic, which causes the New Coronavirus disease. This artistic and academic work includes a set of sound and visual poetics based on an investigation of artistic communicational practices of an activist character, with the mediation of several questions about the current Brazilian history. Firstly, through diversified strategies and proposals for different interlocutors, with experiments in 2019, in different spaces in the city of Santa Maria, state of Rio Grande do Sul - streets, museums, art galleries, university, school, social networks, radio wave space. Subsequently, as a result of the world scenario presented from 2020, with the COVID-19 pandemic, the poetic undergoes significant transformations. In addition to the artistic and communicational strategies undergoing changes in approach, the Santa Maria space moves to that of the Clube Naturista Colina do Sol (CNCS), a naturist community located in the municipality of Taquara, also in Rio Grande do Sul. Not urbanized and immersed with the wild environment the least interfered by human action, which provides other forms of listening and connection, in addition to the relationship with the body, communication and technology, such as the use of online virtual reality platforms to share the work carried out. To approach the construction of this research, studies on methodology by the researcher and artist Sandra Rey (1953) are used. As a theoretical foundation, reference is made to the idea of micropolitics, a concept that refers to philosophers Michel Foucault (1926-1984) and Gilles Deleuze (1925-1995) and to art critic Suely Rolnik (1948). Activist artistic practices are based on the experiences of Brazilian collectives from the 1990’s to the present, as seen under the historiography of Art Activism from the 1950’s, with Italian autonomist philosophers such as Giorgio Agamben (1942) and Franco Berardi (1949). To support the notion of Art and Communication, authors such as Mario Costa (1936), Fred Forest (1933), Mônica Tavares, Priscila Arantes, Christine Mello and Giselle Beiguelman are based on. The concept of device emerges from theoretical research and mediates artistic practices, having as reference Agamben, Foucault, Vilém Flusser (1920-1991) and Gilbert Simondon (1924-1989). From performances, through installations, through audio, video and face-to-face interactivity experiments or via virtual networks, this research seeks to give visibility to everyday micropolitics, with their memories, affections, formalized or ephemeral life impulses in moments of encounters. And how the artistic works can unfold in different contexts, in front of different audiences and under challenging conditions in terms of a larger historical context.
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Soares, Eduardo R., and Eduardo Barrére. "Analysis of an Architecture for Measurement of Audience in IPTV Environments." In Webmedia '17: Brazilian Symposium on Multimedia and the Web. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3126858.3131569.
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Schefer, Ricardo Pezzotti, Andreza Silva Areão, and Luciana A. Martinez Zaina. "Guidelines for Developing Social Networking Mobile Apps to Deaf Audience." In IHC 2018: 17th Brazilian Symposium on Human Factors in Computing Systems. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3274192.3274218.
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Felizardo, Katia, Christina Flach, Roberto Pereira, and Edson Oliveirajr. "Surveying the Audience Effect in Open Peer Review of a Software Engineering Workshop." In SBES 2022: XXXVI Brazilian Symposium on Software Engineering. New York, NY, USA: ACM, 2022. http://dx.doi.org/10.1145/3555228.3555271.
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Florentino, Caio Souza, and Rostand Costa. "A Study On The Use of Deep Learning for Automatic Audience Counting." In WebMedia '18: Brazilian Symposium on Multimedia and the Web. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3243082.3243110.
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Mariz, Fabiana Nunes de Carvalho, Luiza de Lima Pereir, Pâmela Araújo da Silva, Izabela Junqueira Magalhães, Cristhiane Campos Marques de Oliveira, Marihá Thaís Trombetta, Daniel Martins Borges, Alvaro Macedo de Carvalho, and Carla Nunes de Araújo. "Priority populations on Brazilian HIV/AIDS prevention campaigns." In XIII Congresso da Sociedade Brasileira de DST - IX Congresso Brasileiro de AIDS - IV Congresso Latino Americano de IST/HIV/AIDS. Zeppelini Editorial e Comunicação, 2021. http://dx.doi.org/10.5327/dst-2177-8264-202133p125.
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Introduction: According to the Brazilian Ministry of Health, priority populations are composed of adolescents and young adults, people of color, homeless people, and indigenous communities and fragile groups that are more vulnerable to HIV/AIDS. Contrary to the global downward trend in the number of new HIV cases, the Brazilian priority groups show increasing rates. Therefore, the importance of HIV/AIDS prevention and informational campaigns focused on these groups is important. Objective: This study aims to perform a documental research on the national HIV/AIDS prevention campaigns to determine which ones focused on priority populations. Methods: This analysis was based on data from publicity pieces of HIV/AIDS prevention campaigns from 1998 to 2020. The search and examination of these campaigns were conducted on the Brazilian Department of Chronic Conditions Diseases and Sexually Transmitted Infections of the Ministry of Health website. Results: From a total of 85 promoted campaigns in the period, only 9 had the adolescent and young adult population as the target audience, despite the increase in AIDS detection rate in these groups. Furthermore, none of them focused on the other priority groups nor presented information about combination HIV prevention. Conclusion: The data evidence the need for elaborating more HIV/ AIDS prevention campaigns to reach priority populations. Actions aiming to inform and protect these groups, as well as making prevention and treatment methods easily accessible, are key for fighting HIV/AIDS spread and ensuring a healthy future.
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Canto, Aylana, and Ana Helena da Silva Delfino. "The MASP online: the educational strategies from the museum in the pandemic." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.69.
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This article has the target sharing the current research of master degree circumscribed into the Program of Post-graduation in Museology from Federal University of Bahia (PPGMuseum/UFBA) oriented by Ph.d Ana Helena da S. Duarte. In our research we make inquiries into the action of cultural mediation proposed and done by the Museu de Arte de Sao Paolo – MASP during the COVID-19 pandemic. In such a way specially, though, on the Instagram Social Media this Museum interchanged and instigated your audience to learn, to interact and to produce with art objects from your collection. Therefore, through the educational strategies we consider Triangular Approach and Online Educational Museum foundation of your path. As mentioned previously the way to introduce the reader, in our research we investigated the online educational actions did it by the Museu de Arte de Sao Paolo MASP, at the moment of COVID-19 pandemic. The investigation pursues and explores the educational strategies elaborated, designed and done by the MASP and your team for your audience in the virtual place, i.e, the online mode. While theories reference, our base, it is three fundamental axis: Educational Theory of Paulo Freire(Educator and Brazilian Philosopher), and the influence into the Brazilian Educational Museum, Triangular Approach used firstly by Ana Mae Barbosa (educator, pioneer in art-education because of her systematization of the Triangular Approach) and the Greimassian’s Semiotic Theory (Research line of Semiotic study the relation among plans of text circumscribed in relationship through the languages, created by Algirdas Julien Greimas, this theory made possible the investigation of the texts). Combined, brings to light the analysis of the production of the sense from the MASP’s audience. Through of the discourses and texts produced by the Museum Educational team, mediated for Cultural Mediation in a constant dialogue with the concept of Online Educational Museum (OEM) proposed by the Researcher Frieda Marti (Ph.D from the Program of Post-Graduation Education College in the University of the State of Rio de Janeiro - PROPED/UERJ). In this logic, the methodological procedure of the research is based on theory approach and bibliography (theoretical instrumentalisation of concepts for the research) and the analytics investigation in a study case (the analysis of discourses of Online Cultural Mediation from MASP during the pandemic). Our highlight, our general objective, is set a relation between educational actions and the methodologic strategies in Online Cultural Mediation developed by MASP, mediated by analysis of the production made for the audience in this process, assumed the action in the virtual as a contribution for the Brazilian Educational Museum, in context of the pandemic and social isolation – from March 2020 to August 2021. For this purpose, our research problem is to think of the Educational Museum in the pandemic. Indeed our path is in the direction to enrich the Educational Museum, therefore one of the main objectives is reflecting and creating a healthy environment to debate the Educational Museum in the context of pandemic and social isolation in Brazil.