In the course, FTV 201A： MEDIA INDUSTRIES and CULTURES of PRODUCTION： FOUNDATIONS, we discussed how to think the philosophy and thoughts that surround people who produce and work in the culture of production and med...In the course, FTV 201A： MEDIA INDUSTRIES and CULTURES of PRODUCTION： FOUNDATIONS, we discussed how to think the philosophy and thoughts that surround people who produce and work in the culture of production and media. That way, the purpose of this work is to think the use of post-horror label as a marketing strategy in the context of Brazilian contemporary literature and cinema. For that, I map the profile of three Brazilian writers： Santiago Nazarian, Antonio Xerxenesky, and Raphael Montes. They are published now by Companhia das Letras, the largest publisher in Brazil, which has an extensive work with the horror literature, having the exclusivity of Stephen King’s books. In addition, all three circulate differently in the media space, standing between an acceptance of academic criticism and the prestige of large-scale consumer audiences. I analyzed what are the writer strategies to construct their image and establish themselves in the literary market using the Post-horror label and its relation with the production company, RT Features, which is financing them. In the end, I did a critical analyzes of the post-horror label as a transmedia strategy to construct an author’s name.展开更多
Dana Gioia in her publication Disappearing Ink： Poetry at the End of Print Culture, draws attention to the increasing popularity of oral forms of poetry--rap, cowboy poetry, poetry slams and performance poetry Accord...Dana Gioia in her publication Disappearing Ink： Poetry at the End of Print Culture, draws attention to the increasing popularity of oral forms of poetry--rap, cowboy poetry, poetry slams and performance poetry According to Gioia, transformation of author ＂from an invisible creator of typographic language to a physical presence performing aloud＂, leads to formulation of a strong antithesis for Barthes＇ ＂death of the author＂, namely ＂death of the text＂. In her paper, Gioia assumes that the appearance of the author in his physical presence on stage performing text is equivalent to rebirth of an author and his restoration of power over the meaning of text. This assumption results from a strong division between the process of production and the process of reception of text, which maintains a strong opposition among author, text, and reader. This paper presents slam poetry as an event, during which prepared, written text merges with spoken word susceptible to voices from the audience. This fusion leads to rejection of strong division between production and reception of text and thus between author and reader making all of them participants. Print medium is replaced with living body, which responds to the audience and their reception of text. Text is no longer perceived as an artifact, but as a performative process focused on interaction between participants, which cannot exist outside the event展开更多
文摘In the course, FTV 201A： MEDIA INDUSTRIES and CULTURES of PRODUCTION： FOUNDATIONS, we discussed how to think the philosophy and thoughts that surround people who produce and work in the culture of production and media. That way, the purpose of this work is to think the use of post-horror label as a marketing strategy in the context of Brazilian contemporary literature and cinema. For that, I map the profile of three Brazilian writers： Santiago Nazarian, Antonio Xerxenesky, and Raphael Montes. They are published now by Companhia das Letras, the largest publisher in Brazil, which has an extensive work with the horror literature, having the exclusivity of Stephen King’s books. In addition, all three circulate differently in the media space, standing between an acceptance of academic criticism and the prestige of large-scale consumer audiences. I analyzed what are the writer strategies to construct their image and establish themselves in the literary market using the Post-horror label and its relation with the production company, RT Features, which is financing them. In the end, I did a critical analyzes of the post-horror label as a transmedia strategy to construct an author’s name.
文摘Dana Gioia in her publication Disappearing Ink： Poetry at the End of Print Culture, draws attention to the increasing popularity of oral forms of poetry--rap, cowboy poetry, poetry slams and performance poetry According to Gioia, transformation of author ＂from an invisible creator of typographic language to a physical presence performing aloud＂, leads to formulation of a strong antithesis for Barthes＇ ＂death of the author＂, namely ＂death of the text＂. In her paper, Gioia assumes that the appearance of the author in his physical presence on stage performing text is equivalent to rebirth of an author and his restoration of power over the meaning of text. This assumption results from a strong division between the process of production and the process of reception of text, which maintains a strong opposition among author, text, and reader. This paper presents slam poetry as an event, during which prepared, written text merges with spoken word susceptible to voices from the audience. This fusion leads to rejection of strong division between production and reception of text and thus between author and reader making all of them participants. Print medium is replaced with living body, which responds to the audience and their reception of text. Text is no longer perceived as an artifact, but as a performative process focused on interaction between participants, which cannot exist outside the event
