RuMoRes – Online Magazine on Communication, Language and Media is a semiannual scientific journal edited by MidiAto – Group of Study on Language and Media Practices at the School of Communication and Arts of the University of São Paulo (ECA-USP) dedicated to publishing scientific articles, critical reviews and interviews that contribute to the debate on communication, culture, media and language. It is ranked as a B1 magazine on the Coordination for the Improvement of Higher Education Personnel (CAPES) Qualis and accepts the submission of original and unpublished works (written individually or collectively) from authors of a minimum academic level of PhD or doctoral students enrolled on higher education institutions. The submission are continuous and the texts should be formatted on Word using 12 TNR, 1,5 line spacing and following the directions found at Submissions. The magazine finds support at the Postgraduate Program in Audiovisual Media and Processes and at the Postgraduate Program in Communication Sciences of ECA-USP. Access our website at www.rumores.usp.br and for other information write to rumores@usp.br.
Escola de Comunicações e Artes da Universidade de São Paulo
Declaro a total e irrestrita cessão de direitos autorais sobre o texto enviado para publicação na Rumores – Revista Online de Comunicação, Linguagem e Mídias. Entendo que o conteúdo do artigo é de minha inteira responsabilidade, inclusive cabendo a mim a apresentação de permissão para uso de imagens, ilustrações, tabelas, gráficos de terceiros que, porventura, venham a integrá-lo.
Memories: in some cases, in memoriam; in others, in recognition
Copyright (c) 2026 Mayra Rodrigues Gomes https://creativecommons.org/licenses/by-nc-sa/4.0
Lyric communicating through stories: cultural and communicative competences in two Latin American literatures as a suggestion to critics
This scientific paper is an interdisciplinary critical study, from an anti-exotic perspective, on the relationship between literature and communication in the literary works: Gabriela, clove and cinnamon (1958; 2008) by the Brazilian writer Jorge Amado; and Dirty Havana Trilogy (1999) by the Cuban writer Pedro Juan Gutiérrez. In order to substantiate the existence of a literary-communicational value in these works, we adopted the concepts of cultural competence and communicative competence developed by anthropologist Jesús Martín-Barbero (1997) as the theoretical guiding principle for discussion. Based on the results obtained with the critical methodology applied in our analysis, we pointed out more pertinent paths for literary criticism that aims to analyze differentiated literatures, such as the two cases analyzed in this study.
Copyright (c) 2026 Daniel Mendes da Silva Santana https://creativecommons.org/licenses/by-nc-sa/4.0
I’m still here: the expanded narrative within social network X
The movie I am still here (2024), directed by Walter Salles, tells the story of Eunice Paiva’s family during the period of the military dictatorship in Brazil, when her husband was taken, tortured and killed at DOI-CODI. The film was acclaimed by the public and by specialized critics, being included in the Oscar shortlist. This article aims to show how the film’s narrative, focused on resistance and the fight against authoritarianism, extends beyond the screen, and sparks new narratives within the social network X, whether revisiting the past or addressing present-day issues. Furthermore, it also shows the ideological discourse that sustains the movie and makes it meaningful for many social groups.
Copyright (c) 2026 Carolina Fioratti https://creativecommons.org/licenses/by-nc-sa/4.0
On the threshold of Aion: dimensions of the event in I'm still here
I am still here – a Brazilian film directed by Walter Salles – is the subject of this paper. The analysis is based on a theory of the event, as proposed by Gilles Deleuze. The figure of Eunice Paiva occupies a central place in the research, which prioritizes the film’s content level and its relationship with the political and social periods of the country, during the period portrayed. As a result, we find di!erent expressions of events, which intertwine based on the central event: the kidnapping and death of Rubens Paiva by state agents. The work demonstrates the importance of understanding becomings as a space of resistance, political action or redefinition of periods of life. This production is necessary, as it promotes discussion and recovery of social memory related to the period of the military dictatorship in Brazil, among other socially sensitive topics.
Copyright (c) 2026 Cíntia Liesenberg https://creativecommons.org/licenses/by-nc-sa/4.0
Young people and the mask: The hidden tiger and the stigma
The paper aims to understand which and how some of the representation policies critical of the stigma of young offenders are articulated in Brazilian cinema. It starts from the hypothesis that some of these policies can be divided into three main axes, called revealed faces, bonds of affection and youth cultures. Through the discourse analysis of The hidden tiger (2014), in an approach that alternately seeks internal and external elements to the feature film, it was verified how it builds a solidarity approach to young people, which includes the strong presence of male performances, and the intermedia appropriation of the musical track.
Copyright (c) 2026 Caio Túlio Padula Lamas https://creativecommons.org/licenses/by-nc-sa/4.0
Modalities of criticism in the hegemonic and alternative circuits: reverberations of the documentary Chic Show (2023), by Emílio Domingos and Felipe Giuntini
This paper aims to analyze the different forms of criticism of Chic Show, particularly the specificities of the critiques published by mainstream and alternative media. By choosing to analyze content situated in distinct ideological fields, we are questioning the political role of media criticism. To this purpose, we focused our investigation on critiques published in Brazilian digital media outlets, with searches focused on news or film-focused websites. We conclude by thinking that, broadly speaking, although they value distinct aspects in their textual productions, the critics analyzed demonstrate a close connection with their time by demonstrating an ethical commitment to the subjects in and through the representations depicted in the documentary.
Copyright (c) 2026 Renata Dias Oliveira, Bruno Militão Garcia https://creativecommons.org/licenses/by-nc-sa/4.0
Demarcation of screens: the indigenous audiovisual of the Coletivo Beture
This paper analyzes the audiovisual production published on the Instagram social network of the Beture Collective of Mebêngôkre/Kayapó communicators from southern Pará. The objective is to understand how, through technical imagery (Flusser, 1985), a response to the institutional, symbolic, and political violence of the Jair Bolsonaro administration (2019-2022) was established. Through a critique of representation (Shohat and Stam, 2006), the paper observes that, beyond preserving memory and exalting culture, communicators created a complex network of resistance for enunciative autonomy. The method used was Content Analysis (Bardin, 2011). The title, “demarcation of screens”, was given by Ailton Krenak, which discusses audiovisual media as a field of dispute.
Copyright (c) 2026 Adriana Alves dos Santos https://creativecommons.org/licenses/by-nc-sa/4.0
Representations of the popular and the political on Avisa lá que eu vou: reflections on an aesthetic mediation
The objective of this article is to analyze some episodes of the program Avisa lá que eu vou (2022–2025) from the perspective of the popular and the political, both in terms of its narrative and the discourses it mobilizes through its aesthetic mediations and political perspectives. Based on the proposed representations, the article will complementarily examine its broadcast in a condensed format on open TV, its presence on GNT (a subscription channel), and its exhibition on the Globoplay streaming platform. By observing the figure of its host, Paulo Vieira, and the way he engages with and interviews his guests, the text seeks to reflect on the recurring images and imaginaries regarding a Brazil considered authentic and often unexplored in media, both in terms of the content and the expressive forms presented in the series.
Copyright (c) 2026 Eduardo Paschoal de Sousa, Rosana de Lima Soares https://creativecommons.org/licenses/by-nc-sa/4.0
AI Vertigo: impacts of Artificial Intelligence image generation on visual culture
The present work analyzes the social and political impacts of Artificial Intelligence on visual culture through the prism of AI-generated images, whose attempts at categorization o!ten place their reception effects in a state of vertigo due to their unprecedented quantitative analysis capacity in a digital culture of also unprecedented scale. Envisioning the possibilities for transforming paradigms of image reception and perception, the study critically addresses characteristics such as vast dissemination, impressions of autonomy, and indications of factuality, as well as the needs for technological delimitation and regulation.
Copyright (c) 2026 Samuel Baptista Mariani, Ivan Paganotti https://creativecommons.org/licenses/by-nc-sa/4.0
Brazilian and original Globoplay series: territories and margins of the drama genre
The aim of this text is to carry out a narratological analysis of the fictional production of Brazilian Globoplay original series (2015-24), selecting works within the drama genre and examining their thematic clusters and aesthetic conventions. From a theoretical-methodological standpoint, the paper seeks to characterize and define these categories within the audiovisual context of SVoD streaming platforms and through the conceptual perspective of cultural and theoretical studies of television and film. More specifically, it analyzes the series Onde está meu coração (2021) and Os outros (2023-24).
Copyright (c) 2026 Carlos Pereira Gonçalves https://creativecommons.org/licenses/by-nc-sa/4.0
Audiovisual platforms, transnational television, and discursive practices of identification
The article proposes a discussion on the role of global audiovisual platforms, particularly focusing on Netflix, the most successful transnational project, and the discourses they mobilize in the redefinition and assertion of identity and identification as cultural practices. The central question we aim to address is: if, throughout the twentieth century, television was a key medium in reaffirming cultural practices, how does this dynamic manifest in the context of platforms and the new scenarios shaped by technological advancement? Our theoretical approach draws on the concept of transnational television (Straubhaar et al., 2021), the discussion of the post-broadcast era (Wark, 2022), and the understanding of identification as a discursive practice (Hall, 2000). Our hypothesis is that diversity functions as a unifying discourse mobilized by platforms, raising questions about the purposes this discourse serves.
Copyright (c) 2026 Natalia Engler Prudencio, Thiago Siqueira Venanzoni https://creativecommons.org/licenses/by-nc-sa/4.0
Critical responses to misogynistic discourses: a look at reacts and satirical sketches byfemale comedians
In this paper, we dedicate ourselves to reflecting on a particular type of content circulating in the digital environment as a form of social interaction with the media (Braga, 2006), the so-called reacts and their derivatives, both of which are critical responses to media content. We chose to study them by observing the reacts and satirical sketches of two female comedians – Giovana Fagundes and Claudia Campolina – reacting to masculinist and misogynistic discourses circulating on digital social media; discussing whether or not the comedians’ reacts videos are critical, in what extent, and in what intensity. Among the results, we conclude that the main critical dimension of the comedians’ humorous work lies in their tense confrontation of the oppressive and exclusionary dynamics that organize the field of humor itself.
Copyright (c) 2026 Fernanda Elouise Budag, Nara Lya Cabral Scabin https://creativecommons.org/licenses/by-nc-sa/4.0
Influence, media criticism, and conflicts inscientific dissemination on Instagram
Based on the analysis of 29 videos from the science communication Instagram channels Nunca vi 1 Cientista and Mari Krüger, this study discusses media criticism as a space for deconstructing the discourse of digital influencers who use science as a rhetorical resource in the production of misinformation. Within the dynamics of narrative disputes on social networks, the audiovisual medium emerges as a key element in a new mode of consumption marked by short, fast-paced videos connected to viral keywords. Through humorous and satirical narratives grounded in scientific rationality, the communicators counter alternative discourses and compete for attention on Instagram by exposing and contesting what they identify as non-scientific content.
Copyright (c) 2026 Amanda Souza Miranda, Sofia Franco Guilherme https://creativecommons.org/licenses/by-nc-sa/4.0
The rustle and the route of criticism: MidiAto, 15th anniversary
In this article, I describe the contribution that MidiAto research group has made to media criticism over its 15 years of activity prioritizing the approach to objects through language studies. I highlight, in the group’s trajectory, the reflection on the critical task developed and systematized in publications and in a series of events, including the editions of the Media Criticism symposia held since 2017. The notion of metacriticism, a term that names the research network to which the group belongs, proves to be particularly fruitful in allowing both the analysis and interpretation of reflective objects and of criticism itself, notably that of audiovisual narratives, which evaluates products circulating in media culture. Thus, academic and journalistic criticism are placed in dialogue with the intent that the contiguity between the fields might account for the encompassing media culture.
Copyright (c) 2026 Marcio de Vasconcellos Serelle https://creativecommons.org/licenses/by-nc-sa/4.0
Copyright (c) 2026 Rosana de Lima Soares, Eduardo Paschoal de Sousa, Ivan Paganotti https://creativecommons.org/licenses/by-nc-sa/4.0
Crítica e reconstrução: como vislumbrar outros mundos possíveis?
Editorial da edição 37 / número 19
Copyright (c) 2025 Cláudio Coração, Hila Rodrigues https://creativecommons.org/licenses/by-nc-sa/4.0
Narrative policies in nonfictional audio productions on crimes against women
This article addresses the growing production of nonfiction podcasts, aiming to critically analyze the aesthetic, ethical, and political aspects involved in such works. With the rise of audio productions that self-identify as “journalistic” or “investigative,” there is an expanding space for the circulation of audio reports or documentaries that seek to participate in the narrative genre known as true crime. In light of this contemporary circulation phenomenon, which involves both creators and audiences, the text seeks to discuss the ethical and aesthetic parameters mobilized by these productions, as well as the role of the political within their narratives. As an analytical focus, the study selects three journalistic productions that investigate crimes against women committed during the Brazilian civil-military dictatorship, emphasizing the stories of three victims of gender-based violence (Ângela Diniz, Leila Cravo, and Cláudia Lessin Rodrigues), whose experiences are transformed into characters in the podcasts Praia dos Ossos (2020), by Rádio Novelo; Leila (2022), by Globoplay; and O Caso (Últimos Passos) (2023), by Criatura Multimídia.
Copyright (c) 2025 Thiago Siqueira Venanzoni, Rosana de Lima Soares https://creativecommons.org/licenses/by-nc-sa/4.0
Texto final do Dossiê Temático Crítica e reconstrução: como vislumbrar outros mundos possíveis?
Aesthetics of world cinema on global and peripheral streaming platforms: the arise of worldly cinema
Beyond the global platforms, it is also important to perceive a specific type of more artisanal and less mainstream world cinema, which occupies primarily niche and not global streaming platforms, giving visibility to a peripheral cinema of the periphery itself, which are often not seen in their own countries, which could be called, in counterpoint, of a worldly cinema. Based on the analysis of some films distributed on niche streaming platforms in Brazil, this paper intends to discuss the constitution of peripheral films in world cinema as opposed to a globalized world cinema distributed by global streaming platforms. How are world cinema aesthetics, more global or peripheral, organized into more global or niche streaming platforms?
Copyright (c) 2025 Felipe de Castro Muanis https://creativecommons.org/licenses/by-nc-sa/4.0
The role of art criticism in media circulation
This article aims to analyze perspectives on the role of criticism—specifically art criticism—based on Rafael Cardoso’s column published in Folha de S.Paulo in October 2023 and the response written by Daniele Machado. In this public dialogue, both authors reflect on the limitations and current state of contemporary criticism, drawing on recent exhibitions from hegemonic cultural institutions. Through these texts and their circulation on the authors’ and media outlets’ social networks, this study seeks to map conceptions of institutionalized criticism, the apparent dichotomy between popularity and artistic quality, the dissemination of discussions on art criticism, and its insertion into a still-restricted public debate, as well as the role of social media in amplifying criticism within media circulation.
Copyright (c) 2025 Sofia Franco Guilherme, Eduardo Paschoal de Sousa https://creativecommons.org/licenses/by-nc-sa/4.0
Journalistic error or fake news? Technical-conceptual tensions in the digital environment
Conceptual efforts around fake news have emphasized its intentional nature, distinguishing it from the journalistic process. This attempt to stabilize the concept is at odds with reality, as journalistic errors can occur intentionally. Based on two illustrative examples—the news story “Brazil will be uninhabitable in 50 years” and the “video of Pablo Marçal’s meeting with Trump”—this article identifies flaws in the error correction process by digital news outlets from different regions of the country, editorial lines, business groups, and audience reach. Examining professional practice, the objective is to discuss the technical and conceptual tensions surrounding error correction and disinformation, thereby contributing to an understanding of the contemporary media ecosystem.
Correção de erros, Crítica de mídia, Desinformação, Ética jornalística.
Copyright (c) 2025 Lívia de Souza Vieira, Rogério Christofoletti https://creativecommons.org/licenses/by-nc-sa/4.0
Editorial untimeliness, printed and social surroundings in Anuário Todavia
As a contemporary, globalized feeling, there is a latent sense of the “end of the world,” which has become the object, as in other parts of the world, of attention from the publishing market. With this in mind, this paper aims, in dialogue with concepts related to reflections on almanacs and temporalities (in a conceptual and contextual sense), to analyze the Yearbook Todavia 2018/2019—Apocalipse? published by the Todavia publishing house in 2018, focusing on some interconnected issues: the editorial resources used in the connection and arrangement of this reading; the temporal meanings constructed on a certain theme and the crossing of such meanings throughout an annual product; the editorial nature of the yearbook and its relational dimension with historical and social contexts.
Copyright (c) 2025 Frederico de Mello Brandão Tavares https://creativecommons.org/licenses/by-nc-sa/4.0
Três motivos para uma linguagem da esperança
Este ensaio é uma reflexão sobre o caráter potente da esperança como força subversiva e como linguagem política em cenários marcados pela crise civilizatória decorrente do fortalecimento do neoliberalismo e do avanço da extrema-direita. O autor oferece pelo menos três razões para sustentar essa esperança: a crise da dominação neoliberal, a resistência histórica das classes trabalhadoras e populares no Brasil, e a consciência democrática da sociedade. A construção de nova linguagem, capaz de dar lugar a alternativas políticas e econômicas mais justas e inclusivas, é o desafio posto.
Copyright (c) 2025 Juarez Guimarães https://creativecommons.org/licenses/by-nc-sa/4.0
Film criticism and filmmaking: considerations on documentaries by Kleber Mendonça Filho
This article proposes a reflection on documentaries by Kleber Mendonça Filho, namely Crítico (2008) and Retratos fantasmas (2023), perceived as complementary in terms of an understanding of film criticism and filmmaking. In this sense, some hypotheses are investigated, for example, the idea that these films reveal the authorship of Kleber Mendonça Filho both in his training as a critic and in his work as a film director.
Copyright (c) 2025 Samuel Paiva https://creativecommons.org/licenses/by-nc-sa/4.0
Otherness and politics in The Amazing World of Gumball: perspectives on cohabitation from the episode "The Shell"
In this article, we briefly analyze how everyday politics manifests itself in the narrative of the episode “The Shell,” from the third season of the cartoon The Amazing World of Gumball. We propose to reflect on the cartoon in its aesthetic and poetic dimensions, with the aim of understanding both the meanings constructed in the narrative and the way in which these meanings intertwine with everyday life and the relationships that are formed in living together. This is an exploratory study that does not aim to provide conclusive answers, but rather to explore the possibilities of understanding the presence of cartoons in everyday life.
Copyright (c) 2025 Pedro Antun Lavigne de Lemos https://creativecommons.org/licenses/by-nc-sa/4.0
Interventions by supporters’ club against coup actions: circulation of democracy meanings in media events
This paper examines the media repercussion of interventions by supporters’ groups against coup actions in Brazil, highlighting the case of Gaviões da Fiel in two episodes: the protest called by Jair Bolsonaro in São Paulo on February 25th, 2024, in response to his investigation for involvement in the coup attempt on January 8th, 2023; and the Bolsonaro-supported roadblocks in São Paulo in November 2022. Considering the potential for these interventions to be presented as dissenting scenes, this article seeks to understand how such events were framed in journalism and in disinformation posts on social media. Among the many contradictions that we expose, we highlight the dissenting component of these actions as related to the fact that they place, at the center of the media scene, a sense of democracy as a popular movement.
Copyright (c) 2025 Nara Lya Cabral Scabin, Amanda Souza de Miranda, Fernanda Elouise Budag https://creativecommons.org/licenses/by-nc-sa/4.0
Protagonism and race in Brazilian telenovelas: a study of the protagonists of 9 p.m. telenovelas in the 2010s
This paper aims to address the different racial representations based on the main characters of the 9 pm Brazilian telenovelas on Rede Globo de Televisão that were on air during the 2010s. It seeks to understand how an ideal of whiteness is inserted as a social value in Brazilian telenovelas and in society, as well as the intersectionalities in representations of non-white women and the intertwining of race, class, and other markers of difference, influencing their experiences.
Copyright (c) 2025 Mariana Barbosa Gonçalves https://creativecommons.org/licenses/by-nc-sa/4.0
Where, when, and who: chronotopes and imaginaries of Brazilian True Crime
This work analyzes Brazilian podcasts about true crimes from the Bakhtinian notion of chronotope. Thus, we address space-time configurations, as well as representations of the human image, in four productions: The Woman of the Abandoned House, The Atelier, Pico dos Marins, and Human Projects. As a result, we identified and discussed five chronotopes that proved relevant to the corpus: the old residence marked by the past, the hostile nature, the uncomfortable testimony, the routine that precedes the crimes, and the production of true crime as an event, capable of rewriting the chronotopia of criminal cases.
Copyright (c) 2025 Carlos Jáuregui https://creativecommons.org/licenses/by-nc-sa/4.0
Visibility and critique of sexuality: erotic pedagogies and LGBTQIAPN+ representation in Verdades Secretas 2
Verdades Secretas 2 continued a successful audiovisual product on Globo’s broadcast TV. Available on Globoplay streaming in 2022, this soap opera was able to show scenes and themes that do not yet find space on television programming. This research analyzes how the soap opera can expand the historical limits of sexual visibility of LGBTQIAPN+ groups in Brazilian audiovisual, also evaluating how journalistic critics have highlighted the scenes of sexual practices between these characters in their appreciation of the plot and aesthetics of the soap opera.
Copyright (c) 2025 Carlos Felipe Carvalho da Silva, Ivan Paganotti https://creativecommons.org/licenses/by-nc-sa/4.0
Serialized fiction and transmedia archaeology: an analysis of the X-Files Magazine
The success of the series The X-Files triggered not only intense fan engagement but also a series of products that expanded the fictional universe beyond the television canon. One of these products was the X-Files Magazine, the selected object for a content analysis aimed at understanding the relationship between producers and the audience in the expansion of The X-Files universe at the end of the 20th century. This study applies the concept of transmedia archaeology to investigate how transmedia strategies were employed in historical contexts preceding the popularization of digital culture.
Copyright (c) 2025 Gustavo Furtuoso, Gabriela Borges https://creativecommons.org/licenses/by-nc-sa/4.0