Linhas, Projetos e Grupos de Pesquisa

Programa de Pós-Graduação Stricto Sensu em Comunicação


We propose the division of the Media Culture field into two lines of investigation with specificities and complementarities, which aim to bring together research that aim to contribute, on the one hand, to the understanding of contemporary media phenomena and, on the other hand, its implications in the scope of society and of culture:

Line 1 - Configuration of products and processes in the media culture

It brings together research on the historical dynamics and processes through which print, digital, sound and audiovisual productions are codified and constituted within the scope of media culture.


Line 2 – Media contributions to the interaction between social groups

It brings together research oriented to media practices and processes inscribed in social groups, privileging the analysis of power and resistance. Research on discourses, practices and representations, as well as socio-political, cultural and imaginary environments and means in the media context is admitted.

The profile and production of research groups can be better verified by directly accessing the pages of the CNPq research groups directory, or even the Groups' websites, according to the following indications:

Leader: Prof. Dr. Heloísa de Araújo Duarte Valente (Line 1)
Link CNPq:

Group leader(s): Prof. Dr. Gustavo Souza da Silva and Prof. Dr. Clarice Greco Alves (Line 1)
Link CNPq:

Group leader(s): Prof. Dr. Antonio Adami (Line 1) and Prof. Dr. Carla Montuori Fernandes (Line 2)
Link CNPq:

Group leader(s): Prof. Dr. Barbara Heller (Line 2) and Prof. Dr. Gustavo Souza da Silva (Line 1)
Link CNPq:

Group leader: Prof. Dr. Malena Segura Contrera
Link CNPq:

Group leader: Prof. Dr. Simone Luci Pereira (Line 2)
Link CNPq:

Titles and Abstracts of PPGCOM Faculty Current Research Projects

Prof. Dr. Maurício Ribeiro

Project title: Archeology of Intolerance: the role of the media in the reification of cultural stereotypes

Summary: In the results obtained through our previous research project, we observed that in addition to processes of acceptance and religious intolerance present in the media environment, consistent relationships between cultural processes associated with the constitution of the European colonial imaginary and the stigmatization of social groups emerge as a background. subalternized (black people, indigenous people, women, LGBT+, workers). Evidence suggests that traits constituted around 500 years ago still prove to be the foundations of social and cultural relations, imposing on specific groups a place in society established from processes of archaic stereotypes. The present project aims to investigate the role of media production (journalism, entertainment, social networks, etc.) in the reification of such stereotypes, contributing to their “naturalization” and becoming a transmitter of processes of prejudice and intolerance. The central hypothesis is to consider that the vehicles, images and discourses that reiterate hegemonic values ​​that reflect historical conditions different from contemporary values ​​persist. The research corpus consists of texts and images produced in the field of literature, journalism, cinema and audiovisual and other Brazilian cultural manifestations, distributed by primary, secondary or tertiary media processes. For that, the references related to the Theory of the Imaginary will be activated from the work of Gilbert Durand and Michel Maffesoli and the Theory of Communication and Media in the cultural perspective present in Muniz Sodré, Malena Contrera and others.

Prof. Dr. Barbara Heller


Abstract: In the 2030 Agenda for Sustainable Development, adopted in 2015 by the United Nations Assembly, one of the 17 sustainable goals is Gender Equality. Through it, it is hoped to eliminate gender inequalities if and when “women, men, civil society, governments, companies, universities and the media [work] in a determined, concrete and systematic way [...]”. This means that the media play a central role in the struggle for gender equality. The textual genre to which I have been dedicating myself to reflect on the relations between women and the media is the “diary”, in whose manuscripts they expressed their feelings, memories, experiences, always activated by individual and social memories. With the growth of the publishing industry and its segmentation, the manuscripts gained new supports, the books, and new consumers. It is possible to recognize in these texts, now edited, forms of resistance to the oppression of the State, the family, religion, silencing, oblivion and empowerment strategies. It is, therefore, a qualitative and documentary research. The theoretical references used are about memory, diaries and gender studies, such as: BADINTER, Elisabeth (The wrong way - feminism and some destinations); CARLOS, Ana Maria and ESTEVES, Antonio R. (Org.), (Narratives of the self: memories through writing); BUTLER, Judith (Gender Issues); HALBWACHS, Maurice (Collective memory); LE GOFF, Jacques (History and Memory); POLLAK, Michael (Memory, oblivion, silence); SARLO, Beatriz (Past time, culture of memory and subjective rotation); SELIGMANN-SILVA, Márcio (History, memory, literature); TODOROV, Tzvetan (Memory of Evil, Temptation of Good). Several books were and will still be the object of my corpus. Among them, I highlight: RENNER, Hannelore (The girls in room 28); KOSTER, Ingrid Helga (Ingrid; a history of exiles); ALCOBA, Laura (La casa de los conejos).

Prof. Dr. Antonio Adami

Project title: New models of cultural products of sound and radio narration: sound materiality in lyrics by Chico Buarque de Holanda

Abstract: Considering the new ways of producing and disseminating knowledge through research in Language and Communication, particularly sound language, we intend to build new theoretical and methodological approaches to sound materiality from the sound word, analyzing lyrics by Chico Buarque de Holanda. We intend to investigate ten lyrics from the vast repertoire of the composer, musician and novelist, particularly those in the political context. We will work with sound theoretical research and will move on to other sound study methodologies and literary adaptations. As a result of the research, we intend to produce ten podcasts as a radio theater with the adaptations of the lyrics, and thus, expand knowledge about Chico's life and work, from interviews with intellectuals and musicians who live or have lived with the artist and deepen knowledge as well. about sound possibilities. These adaptations will allow a rejuvenation of Chico Buarque's work, with the sound materialization of the lyrics of his songs, or as Murray Schaffer calls it, with the “Sound Landscapes”. We are working in the area of ​​communication, with an interdisciplinary proposal in the fields of Audioart/Radioart, Sound Materiality, Literary Adaptations and Culture and Society, research that is in line with the Sustainable Development Goals (SDGs) of the 2030 Agenda of the United Nations Organization ( UN), which is concerned with social, economic and environmental issues around the world. We intend that the research and sound production developed from it are instruments for education and culture, one of the 17 Global Goals, adopted by the United Nations in 2015 as a universal appeal to guarantee knowledge and quality education.

Prof. Dr. Carla Montuori

Project title: Means and Media in the context of Post-truth

Abstract: With the popularization of cyberspace, new social agents began to participate more actively in reality, both by receiving more information and by becoming content disseminators. In this context, he popularized the phenomenon of fake news, in Portuguese, fake news, which, supported by new information technologies, is disseminated on a large scale and is easy to spread to a large audience in a short time and to different spaces. In this sense, the project aims to analyzer the mediatization practices of social and political life from the perspective of new communication technologies, studying the mechanisms of production and propagation of narratives that expand the capacity of disinformation disseminated in the virtual environment. The research will deal with the themes of post-truth, scientific denialism, disinformation and new media environments. Analyzing the operating characteristics and specifics of the virtual environment that contribute to the information disorder, such as bubble filters, robots (bots), social network algorithms, virtual communities, trolls, cyborgs, etc., also add to the research objective .

Project title: The disinformation network and public health at risk: an analysis of fake news in epidemic scenarios

Abstract: The project "The disinformation network and public health at risk: an analysis of fake news in epidemic scenarios" aims to analyze such content from the perspective of the wave of false information that circulates in circumstances of epidemic risk, having as object social networks and specific events in which the World Health Organization (WHO) declared a public health emergency of international importance. The theoretical line will seek, in the discussions of postmodernity and post-truth, the assumptions to analyze the narrative of fake news that circulate on social networks and generate a wave of discredit in the area of ​​public health. This approach will mainly focus on the fake news that circulated on Facebook and Twitter, on the Swine Flu (H1N1), Ebola virus (EVD) epidemics and the recent SARS Coronavirus outbreak, both highlighted between the period 2009 to 2020. The methodology employed combines quantitative research, supported by data measured through mapping software and monitoring of social networks, for later reading and interpretation of the results, using the method of content analysis (BARDIN, 2011).

Prof. Dr. Clarice Greco

Project title: Fan activism: feminisms and representation in pop culture

Abstract: This project is part of the research of the Postgraduate Program in Communication at Universidade Paulista (UNIP), in the research line Configuration of Languages ​​and Audiovisual Products in Media Culture. This line seeks to continue my investigations with partner researchers and advisees, currently participants in the Research Group for the Analysis of Audiovisual Products, led by Prof. Dr. Gustavo Souza and I, focusing on fan surveys of pop culture audiovisual products. The main objective of this project is to expand the reflections on the so-called fan activism (Bennet, 2012; Jenkins, 2015; Lima and Cavalcanti, 2018), which refers to the critical stance of fans of audiovisual pop culture products, especially regarding it concerns the female representation of race, gender, sexual orientation, domestic violence, motherhood and other issues that permeate the role of women in society. The theoretical line advances the growing thinking of fan studies, as an audience that is active and producer of content in the various digital networks (Hills, 2002; Booth; 2010; Lopes et. al; 2015), in dialogue with concepts such as pop-lithic (RINCÓN, 2016) and intersectional feminism (CRENSHAW, 1989, 2019; FERGUSON, 2018; SPIVAK, 2010; HOLLANDA et al, 2020), in order to debate the claims of female fans in relation to diverse representations of women in their intersectionality.

Prof. Dr. Gustavo Souza

Project title: Appropriations of trauma by Brazilian documentary: indigenous extermination and police violence

Abstract: The discussion undertaken by documentary scholars about traumatic situations basically presents two axes: the holocaust of the Second World War and other genocides that occurred during the 20th century (Rwanda, Cambodia and former Yugoslavia) (SARKAR and WALKER, 2009; WALKER, 2005) ; KAPLAN and WANG, 2005; TORCHIN, 2012; BRODERICK and TRAVERSO, 2011; APREA, 2015). In Brazil, such an approach is absent, since there is no holocaust or genocide in our history (the latter, at least officially), however, massacres and massacres abound. This project intends to investigate how contemporary Brazilian documentary (understood contemporary as the first two decades of this century) portrays traumatic events that unfold in the country's history. The intention is to investigate the appropriations of trauma to the Brazilian style when carried out by the documentary. In its numerous theoretical approaches – from psychoanalysis to sociology, from history to philosophy – there is a set of aspects that converge to a common definition of trauma: it is an unexpected, extreme or frightening fact, difficult to assimilate due to its disruptive effects. and that leaves indelible consequences. In the midst of this diversity, we will start from the clues provided by the corpus to find a theoretical perspective related to it. The one that is most readily announced is that of cultural trauma (ALEXANDER, 2004, 2012; SMELSER, 2004), whose premise is to conceive trauma as a socially mediated attribution, that is, it does not occur causally, but as part of a socially circumscribed process. For the development of the discussion, we will start with the documentaries Auto de Resistance (Natasha Neri and Lula Carvalho, 2018), Ex-shaman (Luiz Bolognesi, 2018), Martírio (Vincent Carelli, 2016) and Sem Rest (Bernard Attal, 2020). Although the themes of these films are different, what justifies their choice is that they all deal with some traumatic event, directly related to social and historical issues. With this aspect in common, the corpus points to the following questions: how to think about trauma in the Brazilian context when approached by the documentary? How does the immanent film material organize, through editing, the relationship between indigenous people and residents of the periphery and the Brazilian State? How do archival images and testimonies articulate around the demonstration of violence? How to look at stories of anonymous people who lost their lives as a result of a violent act? What is the role and positioning of the directors of these films in relation to the theme and characters? In short, what narratives, points of view and speeches in image and sound generate such traumatic situations? Within this perspective, the analysis procedure privileges the identification of immanent filmic materials, their modes of composition and narrative architecture (TEIXEIRA, 2013). This will allow the debate on the imagery-sound construction of the violent event, the damage suffered and the consequences in the medium and long term, in order to understand how these documentaries are constituted as narratives produced from lives in trauma.

Prof. Dr. Heloísa Valente

Project title: Sous le ciel de Paris Memory and nomadism of French song in Brazil

Abstract: This project concerns the French song, which had important repercussions on Brazilian culture. Despite its importance, it has not yet been the subject of more consistent academic studies, in the terms proposed here. This study is dedicated to what used to be called “romantic song”. We delimit the investigation to the period that comprises the end of the 1930s until the end of the 1970s, a time when the international song of European origin loses prominence, giving way to the English-speaking rock and pop genres, as well as the regional repertoires that appear outside the Rio-São Paulo axis. We start from the concepts of “media song” (Valente, 2003) and “nomadism” (Zumthor, 1997), to analyze how the song expresses, informs, corroborates, presents traits of the culture to which it refers and to which it is linked. Objectives: Based on the record repertoire broadcast on radio programs, in addition to people's testimonies, we intend to analyze, among others, aspects such as: 1) the relationship between audience and musical memory, 2) the impact of the permanence of artists promoting the song of francophone origin (especially French) and the emergence of “Brazilian versions”, released by the local phonographic market; 3) how this segment of songs present in the media are present in the everyday life of the common citizen, especially in metropolitan capitals. Results: we propose, among other possible ones: 1) three articles destined for publication in a specialized magazine, containing a systematization of the project results; 2) the creation of a database containing the most representative discography of French songs released in Brazil. With this second result, the possibility of elaborating other research subprojects opens up, allowing to approach, more broadly, the criteria of aesthetic and imaginary tastes shared by the community of listeners; 3) the promotion of an international scientific meeting; a selection of the most significant texts will be destined for publication, in the form of a book or a special issue of a specialized magazine, as far as possible, 4) as far as possible, testimonials from memorialists, artists, music producers, radio broadcasters will be recorded , music critics and other people, with the objective of creating an audiovisual database, to be inserted in the MusiMid page ( Other results are foreseen, depending on the collaboration of other researchers, professors and students of the Universities: 1) the creation of a radio program, with the duration of 50 minutes, containing testimonies of interviewees; 2) an artistic recital, having analyzed French songs as a repertoire.

Project title: Feelings, for all my life I'll feel it? Memory and nomadism of the song in English, from Brazil

Abstract: This investigation concerns the Brazilian song composed with lyrics in English: expressive in sales, but not prestigious by the intelligentsia as happened with the contemporary repertoire, represented mainly by Tropicalismo, the protest song and epigones of the so-called MPB, this production had high sales figures and enjoyed great popularity. It is the “romantic song” of the 1970s that emerges precisely when the English-speaking rock and pop genres already dominated the soundscape and when the music industry reached its apogee: a repertoire sung in English by national artists, whose identity was camouflaged as an American. We start from the concept of “media song” (Valente, 2003), to analyze how the song expresses, informs, corroborates, presents traits of the culture to which it refers and to which it is linked. Objectives: Based on the record repertoire broadcast on radio programs, in addition to testimonials from people, we intend to analyze, among others, aspects such as: - the aesthetic and commercial assumptions conceived by the local phonographic market, when creating this subgenre; - some of the repercussions on the imagery instilled in the receiving public, when understanding local artists as foreigners; - the relationship between audience and musical memory. Research problem: The analyzes to be carried out lead us to deal with a research problem that aims to provide answers to: - How did this segment of songs present in the media participate in the daily life of the common citizen, especially in metropolitan capitals? - What intrinsic elements of the composition contribute to the acceptance of the song in English? - How did the aesthetics of the cover and an invented identity interfere in the aesthetic conception of later periods? Results: Among other possible options, we propose: 1) at least two articles for publication in specialized journals; 2) three conference communications (with publication in minutes) presenting the results parcials of the project, throughout its development; 3) the promotion of a scientific meeting, dedicated to the theme; 4) a selection of the most significant texts will be destined for publication, in the form of a book or a special issue of a specialized magazine; 4) to the extent possible, testimonials from memorialists, artists, music producers, broadcasters, music critics and other people will be recorded, resulting in a medium-length documentary; 5) the creation of a radio program, lasting 30 to 50 minutes, containing testimonies from interviewees.

Prof. Dr. Simone Luci Pereira

Project title: Musical-media practices in the central region of São Paulo: youth and urban cultures, corporeality and territoriality

Abstract: This research seeks to analyze youth musical-media practices in the central region of the city of São Paulo, namely, the so-called “old center” and the Bixiga region (Bela Vista) thought of as a “region”. We give centrality to the spatial dimension to think about music, as we focus on musical activities that are articulated to broader discussions about the right to the city and its uses. Furthermore, we also delimit in the chosen region the musical practices that have an alternative ethos, linked (in different ways and intensities) to associative, collaborative or DIY logics in which we perceive the constitution of an urban and musical activism of these actors (musicians, activists , producers, public, etc.) involved in discussions and actions on uses and disputes for the city and valorization of central areas. These practices reinvent and appropriate the spaces of the city focusing on music and aesthetic, political and bodily practices, building territorialities. The investigation uses ethnographic-based field research as a methodology to build a cartography of these musical-media practices, with observation of events and performances, notes, audiovisual records and interviews with the actors involved (musicians, producers, audience, agents of the State and other institutions) in public and semi-public spaces. We use an ethnography that understands walking around the city as an aesthetic and political practice, in which affective and sensory/body dimensions play a leading role.

Prof. Dr. Vander Casaqui

Project title: The future of work in capitalism narratives: critical analysis of “mainstream futurology”

Summary: This research has as a theme or future, understood in its discursive, communicational and media dimensions. Given this broad thematic spectrum, we define as cuts the discourses that deal with the future of work, because we consider that work activity is the foundation of social being. We also understand that the intricate relationships between the world of work and everyday life result in future scenarios that simultaneously project technological transformations, in the sphere of production, non-consumption, in communication, in human relations and in society. In this sense, we analyze the futuristic discourses present in corporate reports, white papers and TED Talks, which present diagnoses, data, scenarios and inspirational narratives (CASAQUI, 2017) about the future of work in the context of capitalism. Carrico (2013) unifies these documents, apparently diverse, based on the denomination of mainstream futurology, which identifies the future developed, projected, framed by agents that represent the capitalist ideology, such as the World Bank, or the World Economic Forum, leaders such as Elon Musk ( One of the two main exponents of the contemporary space race, led by billionaire entrepreneurs and large corporations that operate in the global market. Our objective is to understand how the narratives studied produce possible worlds (LAZZARATO, 2006) around work activity, to express a notion of the future of ideological character and that is at the service of the societal project based on the preceitos of neoliberal society (DARDOT; LAVAL , 2016). The methodology is based mainly on Angenot's (2010) social discourse study proposal, which supports the analysis of the relationship between discourses, hegemonic codes and the spirit of time. Keywords: Communication; future; work; speech; inspiration.