Programa de Pós-Graduação em Comunicação, Cultura e Amazônia - PPGCOM/ILC

URI Permanente desta comunidadehttps://repositorio.ufpa.br/handle/2011/4452

O Programa de Pós-graduação em Comunicação, Cultura e Amazônia (PPGCOM) é vinculado ao Instituto de Letras e Comunicação (ILC) da Universidade Federal do Pará (UFPA) e iniciou suas atividades no ano de 2010, com a implantação do seu curso de mestrado, autorizado pela Coordenação de Aperfeiçoamento de Pessoal de Ensino Superior (CAPES). Sua proposta geral é promover a análise dos fenômenos comunicacionais em sua relação com as práticas culturais e sociais contemporâneas e em suas peculiaridades na Amazônia, aprofundando o conhecimento profissional e acadêmico e possibilitando a formação de pesquisadores na área da Comunicação.

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Acesso aberto (Open Access)
O cárcere e o relato de si: abjeção e normas regulatórias na experiência de mulheres sobreviventes ao centro de reeducação feminino
(Universidade Federal do Pará, 2014-10-02) FONSECA, Nathália de Sousa; LAGE, Leandro Rodrigues; http://lattes.cnpq.br/2396184188116499; https://orcid.org/0000-0002-6814-9640
In this work, we investigate how relationships are woven between regulatory norms, intersectional systems of inequalities, and abjection as verbalized by our interlocutors in their self-reports. By investigating the experience of women who have been incarcerated, selfreports are the materialization of ethical violence – which can be subjective – in the lives of the research interlocutors. This form of violence is affected by regulatory norms, intersectionality and abjection - which are configured as moral grammars that are mobilized to organize intelligibility before and within prison. Through this problem, we seek to understand the fabric of the relationship between regulatory norms, intersectional systems of inequalities and abjection through self-reports of women who have been inmates at the Women's Reeducation Center (Belém-PA). To this end, we propose to investigate whether or in what way the movement of self-reporting by the women concerned is marked by a denial of humanity, the imposition of gendered norms and practices that traverse social markers of differences (gender, race, class and sexuality), or even their questioning. Methodologically, the central concepts that animate the work are used as analytical categories, and they have proven fruitful in the analysis. Among the results, we have the imposition of the scene of interpellation that deals with the moment of arrest as the first self-report of the interlocutors, the “woman not to be” in the understanding of how the regulatory norms of gender configure that women are incarcerated women, the intersection that unfolds in the “patent” of wealth and the privileges that intertwine with it; operating in intersectional systems and in abjection we have the reality of women who were incarcerated due to their homeless condition, to these, abjection challenges them in such a way that they are denied the status of subject, framed as dirty, and even in intersectional systems of inequalities they reflect the other side of the “patent”, devoid of respect among incarcerated women.
Acesso aberto (Open Access)
O cinema de luta dos Mêbengôkre-Kayapó: as múltiplas dimensões de resistência nos filmes e práticas de produção do Coletivo Beture
(Universidade Federal do Pará, 2024-08-30) GOMES, Angela Nelly dos Santos; LAGE, Leandro Rodrigues; http://lattes.cnpq.br/2396184188116499; https://orcid.org/0000-0002-6814-9640
This research reflects on the cinema produced by Mebêngôkre-Kayapó indigenous filmmakers, focusing on the films and production practices of the Beture Collective, which brings together filmmakers from this ethnic group in the state of Pará, Brazil. The aim is to understand how the cinema of the Beture Mebêngôkre-Kayapó Collective expresses dimensions or meanings of resistance through its works and filmmaking practices, in relation to the socio-political or cultural struggles of the ethnic group. In order to understand how cinema is appropriated and transformed into an ally in these struggles, and in what dimensions this occurs or is expressed, we analyzed the works of the Beture Collective that are representative of their production; we observed and analyzed the group's production practices in an attempt to understand how they relate to the resistance processes of the Mebêngôkre people; what the motivations and objectives of filmmaking are and how the Beture Collective appropriates techniques, technologies and cinematographic or audiovisual language and adapts them to their objectives according to their worldview. This is a qualitative study developed through film analysis and field research with open-ended interviews and observational participation. The theoretical framework is interdisciplinary in that it combines film and image studies with Latin American criticism from the perspective of decolonial studies, as well as concepts related to indigenous studies from anthropology, sociology and geography, which converge with the subject of the research, in order to understand the meanings of resistance that are expressed, constitute or cross Mebêngôkre cinema. The research highlights the complexity of Mebêngôkre cinema and the Beture Collective, which is born and develops in a way that is intertwined with the sociopolitical and cultural issues of the ethnic group and indigenous peoples as a whole. We conclude that the cinema of the Beture Collective is a cinema of struggle, a multifaceted practice of resistance, since it is born and develops intrinsically to the struggles for rights in various senses, for the preservation and demarcation of territories, for affirmation as a producer of their images, narratives and memories, and presentation of their ways of seeing and being in the world. A cinema that is also mediation in the complex ethnic and intercultural interrelationship with indigenous and non-indigenous society.
Acesso aberto (Open Access)
O movimento da Zwanga African fashion: comunicação e moda ativista como prática decolonial na Amazônia-amapaense
(Universidade Federal do Pará, 2024-12-20) NEVES, Lúcio Dias das; AMARAL FILHO, Otacílio; http://lattes.cnpq.br/2605877670235703; https://orcid.org/0000-0001-5467-8528
The thesis analyzed the understanding of the communicative experience of women who participated in the fashion shows proposed by Zwanga in the 2020, 2022 and 2023 editions, as well as a small sample of men who participated in the 2023 edition. Studying Zwanga as a locus of doctoral research transcends fashion, as it articulates the creative economy, entrepreneurship, and the restoration of the self-esteem of Afro-Brazilians. The theoretical foundation was based on the works of researchers from the Amazon como Amaral Filho (2016), tendo suas idéias reforçadas em autores como Tarcízio Silva (2020), Joaze Bernardino-Costa, Nelson Maldonado-Torres e Ramón Grosfoguel (2018) e Molefi Kete Asante (2009) who strengthen the ideas about decoloniality based on local culture, racism,maraçá, quilombismo and other manifestations of Afro-Amapaense culture and an important approach to Zwanga and other cultural manifestations of Amapá . Communication research is basic in nature, using as a case study the means for investigating the Afro-Amazonian traditions and heritages that permeate the Zwanga movement. Under this approach, we opted for an explanatory and participatory type of research – since the author is part of and knows himself in this process, to study specific phenomena, in an analytical and critical way, referring to the universe of Afro-entrepreneurial fashion in Amapá – the experience of Zwanga. For data collection and analysis, several open interviews were used with the Afroentrepreneur and semi-structured interviews with women and men who participated in Zwanga's fashion and social events between the period 2020–2023.

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