Sensational managements: attractions and YouTube videos
DOI:
https://doi.org/10.11606/issn.1982-8160.v13i1p169-189Keywords:
Cinema of attractions, spectacle, YouTube, political manifestationsAbstract
This article argues in favor of a proximity between the spectatorship and aesthetics of audiovisual production on the web and the experience of cinema of attractions. Based on a particular case study, but that seems symptomatic, we aim to show how the rhetoric found in most YouTube videos makes intense use of performatic image, of the movement of body towards the camera, directly addressing the spectator, and of the aesthetical excess associated with sensationalism. Such elements convey a participative, erratic and fragmentary spectatorship. Such characteristics show the persistency of attractions regimen in such videos, as well the political strenght of a moral management from sensationalist strategies.
Downloads
References
Auerbach, J. (2007). Body shots: Early cinema’s incarnations. Los Angeles, CA: University of California Press.
Baltar, M. (2012). Tessituras do excesso: Notas iniciais sobre o conceito e suas implicações tomando por base um procedimento operacional padrão. Significação, 39(38), 124-146. doi: 10.11606/issn.2316-7114.sig.2012.71141
Baltar, M. (2014). Real sex, real lives: Excesso, desejo e as promessas do real. E-Compós, 17(3), 1-17. doi: 10.30962/ec.v17i3.1042
Baltar, M. & Sarmet, É. (2016). La fulminante: Deboche, excesso e gênero no pós-pornô da América Latina. ArtCultura, 17(30), 109-124.
Brooks, P. (1995). The melodramatic imagination: Balzac, Henry James, melodrama and the mode of excess. New Haven, CT: Yale University Press.
Burgess, J. (2014). “All your chocolate rain are belong to us?” Viral video, YouTube and the dynamics of participatory culture. In N. Papastergiadis & V. Lynn (Eds.), Art in the global present (pp. 86-96). Sydney, AUS: UTSePress.
Burgess, J. & Green, J. (2009). YouTube e a revolução digital: Como o maior fenômeno da cultura participativa transformou a mídia e a sociedade. São Paulo, SP: Aleph.
Charney, L. & Schwartz, V. R. (Orgs.). (2001). O cinema e a invenção da vida moderna. São Paulo, SP: Cosac & Naify.
Cohen, R. (2002). Performance como linguagem. São Paulo, SP: Perspectiva.
Eisenstein, S. (1983). A montagem de atrações. In I. Xavier (Org.), A experiência do cinema (pp. 187-198). Rio de Janeiro, RJ: Graal.
Elsaesser, T. (2006). Discipline through diegesis: The rube film between “attractions” and “narrative integration”. In W. Strauven (Org.), Cinema of attractions reloaded (pp. 206-223). Amsterdã, NL: Amsterdam University Press.
Enne, A. L. (2007). O sensacionalismo como processo cultural. Revista EcoPós, 10(2), 70-84.
Fabião, E. (2008). Performance e teatro: Poéticas e políticas da cena contemporânea. Sala Preta, 8, 235-246. doi: 10.11606/issn.2238-3867.v8i0p235-246
Fabião, E. (2009, 9 de julho). Definir performance é um falso problema. Entrevista concedida a Fábio Freire. Diário do Nordeste. Recuperado de https://bit.ly/2uCNehz
Felinto, E. (2007). Videotrash: o YouTube e a cultura do “spoof” na internet. Anais
do Encontro Nacional Compós, Curitiba, 16, 1-11.
Gaines, J. M. (1999). Political mimesis.In M. Renov, F. Ginscurg, & J. M. Gaines (Eds.), Collecting visible evidence (pp. 84-102). Minneapolis, MN: University of Minnesota Press.
Gaines, J. M. (2002). Everyday strangeness: Robert Ripley’s international oddities as documentary attractions. New Literary History, 33(4), 781-801.
Goffman, E. (1959). The presentation of self in everyday life. Nova York, NY: Doubleday.
Gunning, T. (2006). The cinema of attractions: Early film, its spectator and the avant-garde. In W. Strauven (Org.). Cinema of attractions reloaded (pp. 381-388). Amsterdã, NL: Amsterdam University Press.
Hansen, M. (1997). Early cinema, late cinema: Transformations of the public sphere. In L. Williams (Org.). Viewing positions: Ways of seeing film (pp. 134-152). Nova Jersey, NJ: Rutgers University Press.
Jaques, P.-E. (2006). The associational attractions of the musical. In W. Strauven (Org.), Cinema of attractions reloaded (pp. 281-308). Amsterdã, NL: Amsterdam University Press.
Jenkins, H. (2006). Convergence culture: Where old and new media collide. Nova York, NY: NYU Press.
Lana, L. (2015). “É muito íntimo”: Vlogs femininos, fama e linguagem televisiva no YouTube. Anais do Encontro Nacional Compós, Brasília, 24, 1-19. Lévy, P. (1999). Cibercultura. São Paulo, SP: Editora 34.
Lipovetsky, G. & Serroy, J. (2009). A tela global: Mídias culturais e cinema na era hipermoderna. Porto Alegre, RS: Sulina.
Mamaefalei. (2017). MTST: Acampamento paulista [vídeo]. Recuperado de http://bit.ly/2UsxIyt
Manovich, L. (2002). The language of new media. Cambridge, MA: MIT Press.
Montaño, S. (2016). A construção do usuário na cultura audiovisual do YouTube. Anais do Encontro Nacional Compós, Goiânia, 25, 1-24.
Perez, C. & Trindade, E. (2017). Consumo midiático: Youtubers e suas milhões de visualizações: como explicar? Anais do Encontro Nacional Compós, São Paulo, 26, 1-17. Recuperado de http://bit.ly/2GAsfBU
Presidência da República. (2018). Entenda as novas regras do Minha Casa Minha Vida. Planalto. Recuperado de http://bit.ly/2W1wStV
Schechner, R. (2006). Performance studies: An introduction (2a ed.). Nova York, NY: Routledge.
Schwartz, V. (2001). O espectador cinematográfico antes do aparato do cinema: O gosto do público pela realidade na Paris fim-de-século. In L. Charney & V. R. Schwartz (Orgs.), O cinema e a invenção da vida moderna (pp. 297-319). São Paulo, SP: Cosac Naify.
Singer, B. (2001). Modernidade, hiperestímulo e o início do sensacionalismo popular. In L. Charney & V. R. Schwartz (Orgs.), O cinema e a invenção da vida moderna (pp. 95-123). São Paulo, SP: Cosac Naify.
Strangelove, M. (2010). Watching YouTube: Extraordinary videos by ordinary people. Toronto, ON: University of Toronto Press.
Taylor, D. (2013). O arquivo e o repertório. Performance e memória cultural nas Américas. Belo Horizonte, MG: Editora UFMG.
Vieira Jr., E. (2014). Por uma exploração sensorial e afetiva do real: Esboços sobre a dimensão háptica do cinema contemporâneo. Famecos, 21(3), 1220-1240. doi: 10.15448/1980-3729.2014.3.15919
Williams, L. (1999). Hard core: Power, pleasure and the “frenzy of the visible”. Berkeley, LA: University of California Press.
Downloads
Published
Issue
Section
License
Copyright (c) 2019 MATRIZes
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.
Authors who publish in this journal agree to the following terms:
- Authors retain the copyright and grant the journal the right to first publication, with the work simultaneously licensed under the Creative Commons Attribution License (CC BY-NC-SA 4.0) which allows sharing of the work with acknowledgment of authorship and initial publication in this journal for non-commercial purposes.
- Authors are authorized to assume additional contracts separately, for non-exclusive distribution of the version of the work published in this journal (eg, publishing in institutional repository or as a book chapter), with acknowledgment of authorship and initial publication in this journal.
