Novos Olhares – Revista de Estudos Sobre Práticas de Recepção a Produtos Midiáticos, foi criada em 1998 pelo Grupo de Estudos Sobre Práticas de Recepção a Produtos Mediáticos, coordenado por Mauro Wilton de Sousa, Professor Titular da Escola de Comunicações e Artes da Universidade de São Paulo, que se tornou seu editor. Até 2007, quando sua publicação foi descontinuada, a revista contou com 20 edições impressas, tornando-se a principal publicação do país no campo dos Estudos Culturais e contando com a contribuição de renomados pesquisadores nacionais e internacionais. A partir de 2012, a revista ressurgiu como publicação online vinculada ao MidiaSon: Grupo de Estudos e Produção em Mídia Sonora, da Escola de Comunicações e Artes da Universidade de São Paulo. Eduardo Vicente, Professor Associado da instituição, assumiu, desde então, a função de editor da publicação, que teve o seu Comitê Editorial completamente renovado. Para a retomada, optou-se pela mudança na numeração da revista, que foi reiniciada no formato volume/número. Assim, as edições de 2012 tornaram-se, respectivamente, os números 1 e 2 do Volumes 1. Desde 2013, a revista é hospedada no Portal de Periódicos da Universidade de São Paulo no endereço www.revistas.usp.br/novosolhares. Além de todas as edições online, são disponibilizadas também as versões digitalizadas das 20 edições impressas da revista que, além de trazer contribuições de autores como Bernard Miège, Lorenzo Vilches, Jesús Martín-Barbero e Antonio Fausto Neto, entre outros, reúnem entrevistas de pesquisadores como Octávio Ianni, Renato Ortiz, Sérgio Adorno, Eduardo Peñuela-Canizal, Arlindo Machado e Maria Lourdes Motter, entre outros. A partir de 2025, a Novos Olhares passou a ser publicada em fluxo contínuo, com uma única edição/volume anual. A revista publica, em suas edições, contribuições voltadas a um amplo leque de temáticas dentro da área de Comunicação. Sem abandonar sua vocação inicial, ligada às praticas de recepção, o periódico tem se tornado uma referência também na publicação de trabalhos voltados a diferentes aspectos da produção audiovisual, com destaque para o rádio, o podcast e a música popular industrializada.
Universidade de São Paulo. Escola de Comunicações e Artes
Proposta de Aviso de Direito Autoral Creative Commons 1. Proposta de Política para Periódicos de Acesso Livre Autores que publicam nesta revista concordam com os seguintes termos: Autores mantém os direitos autorais e concedem à revista o direito de primeira publicação, com o trabalho simultaneamente licenciado sob a Licença Creative Commons Attribution CC Attribution-NonCommercial-NoDerivatives 4.0, que permite o compartilhamento do trabalho com reconhecimento da autoria e publicação inicial nesta revista. Autores têm autorização para assumir contratos adicionais separadamente, para distribuição não-exclusiva da versão do trabalho publicada nesta revista (ex.: publicar em repositório institucional ou como capítulo de livro), com reconhecimento de autoria e publicação inicial nesta revista. Autores têm permissão e são estimulados a publicar e distribuir seu trabalho online (ex.: em repositórios institucionais ou na sua página pessoal) a qualquer ponto antes ou durante o processo editorial, já que isso pode gerar alterações produtivas, bem como aumentar o impacto e a citação do trabalho publicado.
Alternative streaming platforms: Curatorship as Embaúba Play's power
This article aims to analyze Embaúba Play as an alternative audiovisual streaming platform to the hegemonic model consolidated globally by Netflix. The research question is to understand how this alternative character is achieved, questioning aspects such as catalog composition, interface, and the use of algorithmic recommendation systems. The methodological approach is based on the walkthrough method (Light. Burgess. Duguay, 2018) in conjunction with "interface curation" and "database construction" (Lobato. Scarlata. Wils, 2024). Developing a discussion that articulates platform studies with reflections on curation and film festivals, it is argued that the platform's alternative character is due not only to the formation of its catalog but also to its operation outside the realm of datafication.
Copyright (c) 2026 Caio Olympio Matos da Rocha, Adil Giovanni Lepri https://creativecommons.org/licenses/by-nc-nd/4.0
Presentation of the 2025 edition (Volume 14).
Copyright (c) 2025 Eduardo Vicente https://creativecommons.org/licenses/by-nc-nd/4.0
Living is not precise: Destinerrance and forsakenness in Viajo Porque Preciso (...)
In light of Jacques Derrida’s notion of destinerrance, this article analyzes the film Viajo porque preciso, volto porque te amo (2009), by Karim Ainouz and Marcelo Gomes. The analysis begins with the problem of the existential forsakenness of the narrator-character José Renato, mirrored in his journey through the northeastern Brazilian sertão and his encounters with the other. The aim is to understand how the spatial displacement undertaken by the character triggers a subjective errancy that, when traversed by the other — as radical alterity — holds the potential to reinvent life.
Copyright (c) 2026 Saulo Pedrosa da Fonseca Rios, Cláudio Rodrigues Coração https://creativecommons.org/licenses/by-nc-nd/4.0
Algorithmic Diversity: the Netflix recommendation system as a dimension of the circuit of culture
This article examines Netflix's recommendation system (NRS) and its relation to the diversity strategy adopted by the platform. We discuss how algorithms have become a fundamental dimension of communicational exchanges, shaping the processes of production, representation, consumption, identity, and regulation. Using the circuit of culture as a methodological framework (Du Gay et al., 1997; Escosteguy, 2009), the study combines a literature review on the NRS with an experiment that observes its functioning through the creation of two different profiles on the platform. Findings show that, although Netflix claims not to use demographic data, the NRS encodes and maps identity markers, generating taste communities and micro-genres for “non-normative” identities, influencing both the production and consumption of “diverse” representations, and the identifications they offer, often regulating difference according to normative cultural conventions.
Copyright (c) 2026 Natalia Engler Prudencio https://creativecommons.org/licenses/by-nc-nd/4.0
Sex stratification and intersectionality in the news coverage of femicides
This article proposes a conceptual and methodological discussion for the coverage of feminicides in Santa Catarina based on the concepts of “intersectionality” (Collins, 2019, 2022; Collins & Bilge, 2021) and “sex stratification” (Rubin, 2017) to understand the multiple social dynamics present in the visibility/invisibility of deaths reported in Santa Catarina journalism. Constituting a research that investigates the coverage of these crimes between 2015 and 2021, the article analyzes the different meanings attributed in journalism - based on the presumed sexual life of women - to deaths by feminicide. With an intersectional perspective, it is especially highlighted how the relationships of victims with suspects are framed in different ways based on the distinct social markers of difference. Among the results of the analysis carried out based on the concepts used, it was concluded that journalism promotes meanings that stimulate the hierarchy of sexual practices, indicating that the politics of sex operate in journalistic practice, determining which deaths are acceptable or unacceptable to society.
Copyright (c) 2025 Fernanda Nascimento, Jessica Gustafson, Isabel Colucci Coelho https://creativecommons.org/licenses/by-nc-nd/4.0
The feature and the sound tapestry in non-fiction narrative
Developed in the early days of English radio the feature is the most artistic and creative of the formats that make up the large family of non-fiction sound narratives but the least known and explored by audio producers. The lack of a clear concept and bibliographic acoustic references also makes it difficult to experiment with the format. This article aims to recover the key features aspects through conceptual research and a survey of Brazilian and International productions that can inspire students and professionals in the area in the scenario of new acoustic possibilities opened by the podcast.
Copyright (c) 2025 Márcia Detoni https://creativecommons.org/licenses/by-nc-nd/4.0
Communication and Autism: Foundations for Communication Research on the Spectrum
The article analyzes communication as an evolving field of study in Brazil, especially in relation to autism. It structures the discussion in three parts: medical manuals and language studies on communication in autism; what communication studies say about the topic; and autism as a conceptual challenge to the field. It observes that autistic communication is often viewed reductively in manuals, autism is rarely addressed in communication research, and there is no single definition for communication in autism. The article concludes that the specificities of autism, combined with gaps in the communication field, open space for new approaches, proposing a metatheory of communicational tensions.
Copyright (c) 2025 Luiz Signates, Tiago Abreu, Germanna Parreiras https://creativecommons.org/licenses/by-nc-nd/4.0
'If you don't believe, have fun watching': the spectacularization of the paranormal on the TV show Domingo Legal
The spectacularization of the supernatural has become a recurring and effective strategy in the media. The program Domingo Legal, aired by the Brazilian Television System (SBT), illustrates this trend through the show Os Paranormais, aired in 2014. By combining elements of entertainment, suspense and mysticism, the show involves the audience in narratives of paranormal phenomena presented in a way that is considered sensationalist, arousing the audience's curiosity. This article proposes an analysis of how the show mobilizes these elements to capture the audience's attention, while at the same time straining the boundaries between the real and the fictional. To this end, a case study is adopted as the methodology, using Guy Debord's (1997) concept of “Society of the Spectacle” as a theoretical reference, with the aim of understanding this media approach and its implications for the construction of the boundary between entertainment and belief.
Copyright (c) 2026 Alliston Fellipe Nascimento dos Santos https://creativecommons.org/licenses/by-nc-nd/4.0
Exploring graphic sonority and disruptive: 2001, a Jack Kirby odyssey
In 1976, Jack Kirby published his comic book adaptation of the film 2001, A Space Odyssey, directed by Stanley Kubrick in 1968. This text aims to analyze Kirby's adaptation strategies, highlighting similarities and differences and focusing on the difficulty of adapting the film's soundscape to the comics. Through an analysis of the two works and the graphic resources used by Kirby, the difficulty of adaptation between these different media is demonstrated, especially when the film breaks the traditional narrative structure. This article proposes that the most favorable path for this adaptation would be to seek a correspondence between the disruptive nature of the film and the similar possibilities that Kirby's adaptation could explore in the comic book media.
Copyright (c) 2025 Felipe Muanis https://creativecommons.org/licenses/by-nc-nd/4.0
Radio as a hero: demystifying its history
This paper analyses the institutionalised discourse on radio’s history to, critically, expose some key points that allow for new concepts on the medium’s figurations. Mythcriticism is used to deconstruct the dominant myth on the imaginary about radio. The goal is to point out explanations other than those already known about the potential of a possible radio.
Copyright (c) 2025 Daniel Gambaro https://creativecommons.org/licenses/by-nc-nd/4.0
The performativity of images in the critical rereading of archives of slavery experience
The aim of this work is to analyze how the reinterpretation of images of black women can promote ruptures in devaluing frameworks, presenting other possible legibilities and figurations for their existence. A painting by the black north american artist Titus Kaphar, entitled Space to Forget (2014) is related to the photograph by Jorge Henrique Papf, entitled Babá playing with child in Petrópolis (1899) in order to question the organizing historicity of the enslavement experience of black women. Such an experience can be recalled through an intervention in the image that, by producing absences, makes it possible to make those who were previously unseen appear. The aim is to highlight the way in which these artistic productions thematize the influence that racism has on the lives of black women and how critical storytelling can contribute to self-definition, the valorization of their knowledge, the confrontation of violence and injustice through the resignification of experience of their bodies, made legible by the performattivity of the images.
Copyright (c) 2026 Ângela Cristina Salgueiro Marques, Mariana Falcão Duarte, Marcela Barbosa Lins, Beatriz Drosdrocky Gonçalves https://creativecommons.org/licenses/by-nc-nd/4.0
Analytical strategies of audiovisuals in research on film reception and consumption
This text aims to present the analytical procedures related to media products, that is, the film texts used in reception and cinematic consumption research, both at the master's and doctoral levels, defended in Brazilian Communication Postgraduate Programs from 1990 to 2020. It is an effort to highlight a weak point in research in the field, which, when conducted, only marginally addresses the analysis of the object that motivates the study of its reception or consumption by individuals.
Copyright (c) 2025 Nilda Jacks, Daniela Schmitz https://creativecommons.org/licenses/by-nc-nd/4.0
From TV to Social Media: Symbolic Disputes Over Northeastern Imaginaries in the Telenovelas Mar do Sertão and Travessia on X
This article analyzes symbolic disputes surrounding the imaginaries of Brazil’s Northeast region, based on the telenovelas Mar do Sertão (2022) and Travessia (2022), as well as interactions on X. The study aims to understand how the meanings offered by these telenovelas circulate within processes of mediatization and how such circulation impacts the construction and resignification of imaginaries. Grounded in Gilbert Durand’s (1997) studies on the imaginary and Ana Paula da Rosa’s (2012) concept of totem-images, the analysis dialogues with theories of mediatization from Verón (2004), Fausto Neto (2006), Braga (2006), and Carlón (2009). The findings reveal that Northeastern imaginaries are co-produced on social media in interaction with televised content, exposing both the reaffirmation and contestation of fixed symbols. As a result, symbolic fissures and resistance spaces emerge, challenging dominant meanings.
Copyright (c) 2025 Núbia de Andrade Viana, Ana Paula da Rosa, Cícero de Brito Nogueira https://creativecommons.org/licenses/by-nc-nd/4.0
Analysis of the circulation of the film Barbie on entertainment portals
This paper aims to present, first, a quantitative mapping of the circulation (Verón, 2004; Fausto Neto, 2010, 2018; Braga, 2012, 2017) of the film Barbie in news, entertainment and criticism portals; and, second, a lexicometric analysis (Authors, 2024a, 2024b, 2024c, 2024d) of entertainment texts. To this end, we rely on the graphic recommendations of Knaflic (2019), using the tools Chrome, Docs, Sheets, Infogram and IRaMuTeQ. As results, we highlight the prevalence of entertainment portals and publications related to the release of the film. In these, three meanings are attributed to the term “Barbie”: doll, film and character. We also identified an emphasis on the names of the cast and crew, mentions of ways to watch the film, presentation of the narrative, discussions related to feminism and incidence of terms related to fashion. In addition, there are topics related to cinema – such as awards, speculation and references to other productions.
Copyright (c) 2025 Márcia Zanin Feliciani, Viviane Borelli https://creativecommons.org/licenses/by-nc-nd/4.0
Representations and reverberations in Futuro Beach (Praia do Futuro): circulations and uses of cinema as a political tool
The article seeks to reassemble the circulations of Future Beach (Praia do Futuro, Karim Aïnouz, 2014), based on a series of public reactions to the film, such as the reports published in media that spectators left the room during the screening of the feature film in theatres. To understand the reverberations surrounding its circulation, this study analyses the anchoring of the work in a political, social and cultural context in Brazil in the year of its premiere. It also seeks to reflect on the public coupling to the figure of the protagonist Wagner Moura, who had played a series of roles on television and in the movies close to a heterosexual virile masculinity and was playing a gay character for the first time. Lastly, it focuses on the materiality of the film itself, on aesthetic and narrative choices that build a work that is subtle and close to the audience.
Copyright (c) 2025 Eduardo Paschoal de Sousa https://creativecommons.org/licenses/by-nc-nd/4.0
Communication And Aesthetic Experience: a critical revision of two concepts and their articulation
This essay performs a critical revision of the conceptual framework that permeates the area of “Communication And Aesthetic Experience”, present in the Brazilian field of Communication since 2007, but which hasn’t consolidated a communicational concept of aesthetic experience, in what can be seen as a lack of disciplinary singularity. We assume that this is related to the paradigmatical crisis which hits not only Communication but also Aesthetics, which has been suffering criticism from different areas. In face of this, the essay presents the reasons for these crises, and some theoretical currents in which both Communication and Aesthetics may find support to build more stable conceptual bases.
Copyright (c) 2025 Mário A. O. M. Rolim https://creativecommons.org/licenses/by-nc-nd/4.0
Phantasmagoric experience: the subjective camera as an atmospheric device in “Presence”
What does it mean to experience the world as a ghost condemned to haunt a house? This question guides the affective experience of “Presence” (2025), a film by Steven Soderbergh in which cinematography conveys and materializes the perspective and sensoriality of a supernatural entity. Through the theoretical lens of film atmosphere, this article investigates how the technical and symbolic dimensions of the camera dissolve boundaries between viewer and film; by adopting the viewpoint and subjectivity of a ghost, “Presence” transforms the camera into a corporeal yet immaterial agent, enveloping the audience and amplifying the narrative’s emotional tension. Thus, this study contributes to research on cinematic atmosphere as an interdisciplinary and holistic filmic figure, highlighting the importance of the spectator’s embodied experience in cinema and the seventh art’s capacity to mediate between the tangible and the intangible.
Copyright (c) 2025 Renato Guimarães Furtado https://creativecommons.org/licenses/by-nc-nd/4.0
Brazilian folklore on the streaming screen: a critical analysis through the decolonial lens of Invisible City
With the rise of subscription-based video-on-demand services such as Netflix, Prime Video, and Max, the production of original content has significantly increased, including possible adaptations of narratives from popular, traditional, and ancestral cultures into audiovisual language. This article aims to discuss, through the lens of decoloniality, aspects of Brazilian folkloric culture incorporated into the Brazilian Netflix original series Invisible City (2021), particularly through the creation/adaptation of certain characters. This study is exploratory and qualitative, with an analysis methodologically grounded in bibliographic research and critical reflection on the representation of folklore in the series. The results indicate that folklore is activated as an adaptation of oral culture into media culture, serving as cultural resistance and critique of colonial thought. Furthermore, Invisible City establishes a transmodern dialogue by adapting figures from Brazilian folklore to a contemporary context.
Copyright (c) 2025 Claudinei Lopes Junior https://creativecommons.org/licenses/by-nc-nd/4.0
Carolina Maria de Jesus, present: senses of diversity and identity affirmation in the circulation of editorial products
The paper seeks to map the senses mobilized/negotiated/disputed in the recent media circulation of Carolina Maria de Jesus’s literary production. Based on the concept of circuit of culture (Johnson, 2007; Escosteguy, 2007), the article is structured based on two main methodological movements: mapping the discursive (re)positionings produced by the publisher Companhia das Letras regarding the launch of the publication of Carolina Maria de Jesus’s books, in 2020; and tracking of manifestations about the reception of the writer’s books that had repercussions in texts published by the newspapers Folha de S. Paulo and O Estado de S. Paulo between 2020 and 2023. The research results suggest that the author and her work have passed through a process of resemanticization, in recent years, in connection of what Fraser (2006) calls the new political imaginary in contemporary times, in which demands for recognition become the paradigmatic form of struggles for social justice.
Copyright (c) 2025 Nara Lya Cabral Scabin https://creativecommons.org/licenses/by-nc-nd/4.0
Latin America and Recent Years: The Study of Reception in Mass Communication
These reflections are based on a rather provocative premise: reception is not merely a stage in the communication process, it is a new place from which we must rethink communication studies and research. It is not a stage, as suggested by the North American school, that somewhat imposed on us a kind of artificial history, studied for years by sociology—essentially focusing on the economics of the sender—and later by the semiotic analysis of the ideology of the message. Seeking to break away from this “staged” conception, I propose that reception constitutes a kind of metaphor for reconnecting communication studies with today’s Latin American society—and not that of the 1970s, when communication studies began to gain importance in schools and society
Copyright (c) 2024 João Cubas Martins, Maíra Rossin Gioia de Brito, José Carlos Fernandes, Valquíria Michela John https://creativecommons.org/licenses/by-nc-nd/4.0
Copyright (c) 2024 Eduardo Vicente https://creativecommons.org/licenses/by-nc-nd/4.0
Filling the gap in public and government communication: notes about the radio in Rio Grande do Sul and the 2024 flood
Historiographical analysis of the role of radio in Rio Grande do Sul during the 2024 flood. Considers the validity of the historical phase of convergence (Ferraretto, 2012) and the increasing consolidation of the hybridization process (Ferraretto, 2024). It finds that the broadcasters provided informative, interpretative, opinionated and utilitarian content (Melo; Assis, 2010). The possibility is raised that, in doing so, they have partially compensated for the lack of planning in relation to crisis management (Lima, 2020; Oliveira, 2007), government communication and public communication (Duarte, 2011). In a context of lack of electricity and internet signal, it highlights the importance of the cell phone, in the production and transmission of content, and the transistor and battery-powered radio device, in its reception. To understand such initiatives in the context of climate crisis, it uses the political economy of communication (Mosco, 1996) and, in particular, the history of institutions (Schudson, 1993).
Copyright (c) 2025 Luiz Artur Ferraretto https://creativecommons.org/licenses/by-nc-nd/4.0
Copyright (c) 2024 Jesús Martín-Barbero https://creativecommons.org/licenses/by-nc-nd/4.0
Boundaries of Alterity in Documentary and Fiction: Immigrants, Refugees and Their Representations in Audiovisual Culture
This paper discusses the formulation of boundaries between identity and alterity in the representation of refugees and immigrants in audiovisual culture. Specifically, we examine the circulation and reverberation of what we call alterity narratives, seeking to understand how subjects represented in documentary and fictional works read their content. We explore concepts from language, culture and media studies – such as social representation, translation, boundary, mediation and mediatization – and conducted semi-open interviews with ten immigrants and refugees. The research subjects were also invited to watch scenes from two documentaries and a telenovela to evaluate the ways in whichboundaries are constructed and their universes of origin are translated into these narratives. We note that the processes of mediatization of alterity tend to reduce complexity in extreme ways and are based on judgments and valuation processes when designating cultural difference.
Copyright (c) 2024 José Augusto Mendes Lobato https://creativecommons.org/licenses/by-nc-nd/4.0
Hegemony Reconfiguration in the Digital Age: the Role of Algorithms in Information Control
This article explores the concept of algorithmic hegemony and the crucial influence that algorithms exert in mediating the flows of information on digital platforms. By drawing on foundational authors such as Antonio Gramsci , who discusses the nature of hegemony, Gilles Deleuze , who addresses the dynamics of control societies, and David Lyon , who analyzes digital surveillance, the text examines how algorithms not only shape public debates but also reconfigure contemporary power structures. Our analysis points to a qualitative shift in hegemony which becomes organized and sustained by algorithmic systems that invisibly control social and political dynamics in the digital age. This reconfiguration raises important questions about individual autonomy, the diversity of voices in the public sphere, and the risks associated with the centralization of informational power.
Copyright (c) 2024 Thiago Henrique de Jesus-Silva https://creativecommons.org/licenses/by-nc-nd/4.0
Responsible AI, Social Media Platforms, and Regulation in Brazil: notes to think about social participation in times of uncertainty
This conceptual study, organized by a literature survey, aims to reflect and critically observe the impacts and transformations artificial intelligence (AI), supported by algorithm systems and machine learning, has brought to sociocultural relations and processes in contemporary Brazil. It also outlines the concept of responsible artificial intelligence, emphasizing the key role of social participation in the regulatory constructions encompassing the development, application, and social uses of AI. As a result, this study provides an informative theoretical and technical framework that signalizes and discusses some points of attention and recommendations on the expressions of AI in Brazil in a critical and interdisciplinary way. These recommendations can inform and support future interventions and research on the topics in focus.
Copyright (c) 2024 Francisco Leite, Isabela Xavier Gonçalvez, Telma Luiza de Azevedo, Luciana Moherdaui, Everaldo Pereira https://creativecommons.org/licenses/by-nc-nd/4.0
Critical reception of the award-winning films at the Tiradentes Film Festival between 2020 and 2022
This paper analyzes the critical reception of three award-winning films at the Tiradentes Film Festival during the COVID-19 pandemic from 2020 to 2022. Based on contextual historical studies by Janet Staiger (1992), who considers film criticism as a historical instance of film reception, we examined how the critical reception of the feature films Canto dos ossos (Jorge Polo and Petrus de Bairros, 2020), Açucena (Isaac Donato, 2021) and Sessão bruta (Coletivo As Talavistas, 2022). In conclusion, recurring receptive traits indicated in the reviews resumed the debates about appreciating the aesthetic innovations of young contemporary Brazilian cinema.
Copyright (c) 2024 Regina Lucia Gomes Souza e Silva https://creativecommons.org/licenses/by-nc-nd/4.0
Copyright (c) 2024 Luiz Signates https://creativecommons.org/licenses/by-nc-nd/4.0
The Listener as an Aspect of Radiophonic Communication Process Analysis: Notes for Reflexion
This article presents an excerpt from a broader research on developing an open protocol to investigate radiophonic communication processes. Based on a content analysis of thesis and dissertations and an extensive bibliographic research, the current research phase suggests the need to investigate at least four layers of observation: the listener’s characteristics; the technology around the empirical object; the description of the radiophonic product, and the contextual elements. We discuss the characteristics of the contemporary listener to methodologically suggest its analysis by identifying the general characteristics of a real listener and a presumed listener, which can be accomplished through a list of questions capable of guiding the researcher’s gaze.
Copyright (c) 2024 Roscéli Kochhann https://creativecommons.org/licenses/by-nc-nd/4.0