Extraprensa is a journal written for publishing scientific essays about the Culture and Communication around Brazil and Latin America by compiling themes like cultural diversity, citizenship issues and other popular cultures expressions, including art, alternative media and scientific methods used at these researches. Papers' Profile used by Extraprensa Journal: articles, research reviews, scientific reports and experts' chronicles.
Universidade de São Paulo | Escola de Comunicações e Artes
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Discursive modulations of the MST: an analysis of the movement's homepage, from 2002 to 2018
This study aims to analyze the discursive modulations of the Landless Rural Workers’ Movement (MST) from 2002 to 2018, using Brazil’s election years as reference points, in order to understand the characteristics and transformations of the MST’s discourse during critical moments in the political landscape. Using the Wayback Machine tool, we analyzed the main articles from the homepage of the MST’s website during presidential election years: 2002, 2006, 2010, 2014, and 2018. The data were interpreted through Discourse Analysis, based on the works of Orlandi (2015) and Fernandes & Sá (2021). The results indicate that there is no intrinsic relationship between the MST’s discourse, the historical context, and the ideological dynamics of each period. However, the discursive strategies are polysemic, reaffirm the collective identity of the movement, and are modulated in an attempt to approach civil society.
Copyright (c) 2026 Ana Elizabeth Lima Vasconcelos, Luiz Alberto de Farias https://creativecommons.org/licenses/by-nc-nd/4.0
"Despite the metaphors...": incidences in the poetry of Patativa do Assaré and Antônio Francisco Teixeira de Melo
This article examines how the poets Patativa do Assaré and Antônio Francisco Teixeira de Melo address hunger, social injustice, and cultural resistance, contributing to an understanding of the conditions of existence in Brazil’s Northeast across different historical periods. The objective is to compare Patativa’s poetics, representative of the early twentieth century, with that of Antônio Francisco, a contemporary poet, highlighting continuities and re-significations within the cordel tradition. The study is situated within the field of comparative literature and prioritizes the analysis of images and metaphors in the works Ispinho e fulô (2012), by Patativa, and Dez cordéis num cordel só (2012), by Antônio Francisco, in light of the notion of everyday metaphors (Lakoff; Johnson, 2002). The results point to a critical and humanizing poetic discourse in which orality and popular language function as forms of resistance and identity affirmation.
Copyright (c) 2026 Paulo Henrique Flauzino, Francisco Cláudio Alves Marques https://creativecommons.org/licenses/by-nc-nd/4.0
Shamanic ontological territory in the pedagogical dimension of Black cinema
The cinema in question is brought to the screen through the ontological protagonism perceived in Black cinema, in the demands of Indigenous filmography. However, we perceive a Merleau-Pontyan dialogical relationship with the dynamics of Amazonian shamanism, when navigating the dimensions of the visible and the invisible—a method proposed in this work for understanding Yanomami cinema. Both the shaman filmmaker and the shaman character, creators of the short film Mãri-hi – the tree of dreams, allow the viewer to immerse themselves in the telluric nature of the oneiric pedagogical imaginary, in which dreams are indicative of decisions within the dynamics of sociability.
Copyright (c) 2026 Éder Rodrigues dos Santos, Celso Luiz Prudente https://creativecommons.org/licenses/by-nc-nd/4.0
Documentary as a device: mediatization and memory regimes of the military dictatorship
This article offers an introductory and panoramic discussion of how contemporary documentary cinema operates in the mediatization of the Brazilian military dictatorship (1964–1985). The analysis is grounded in the notion of the media dispositif and in documentary studies, articulating them with the problematics of social memory. It is based on the premise that documentary film does not merely represent the past, but actively participates in its social production as public memory, acting as a media dispositif that reorganizes experiences, produces sensibilities, and intervenes in political disputes. Drawing on case studies of contemporary films, the article argues that documentaries about the dictatorship constitute genuine mediatized lieux de mémoire, in which audiovisual communication is configured as a social, narrative, and political practice.
Copyright (c) 2026 Jean Carllo de Souza Silva https://creativecommons.org/licenses/by-nc-nd/4.0