A crítica de cinema na era digital: uma análise comparativa das críticas do filme Mank, de David Fincher, nos veículos que já nasceram no universo digital em contraponto aos tradicionais.
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Tipo
TCC
Data de publicação
2021
Periódico
Citações (Scopus)
Autores
Rocha, Joice Aparecida Martins
Orientador
Harris, Hugo de Almeida
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Resumo
No ambiente digital, a crítica cinematográfica está presente tanto em veículos que já surgiram na internet quanto naqueles que migraram posteriormente para esse ambiente. Os dois tipos possuem as suas particularidades. Nesse contexto, surgiu o seguinte problema de pesquisa: é possível encontrar semelhanças entre a crítica realizada nos veículos advindos do impresso e os já surgidos no meio digital a fim de fornecer subsídios para a prática da crítica na atualidade? A presente pesquisa teve como objeto de estudo algumas críticas do filme Mank publicadas em quatro veículos distintos, Folha de S. Paulo e Estadão, os quais representam a mídia tradicional impressa, e Omelete e Cinema em Cena, veículos que já foram criados no meio digital. A partir dessa premissa, o objetivo principal da pesquisa foi estudar a diferença entre a crítica tradicional e a que já nasce no mundo digital. Além disso, foram objetivos secundários realizar um panorama histórico da profissão de crítico e da crítica cinematográfica, identificar as principais mudanças ao longo dos anos, comparar os textos estudados e analisar o poder da interatividade. Por fim, destaca-se que, como pressupostos teóricos, foram utilizados os pensamentos de Piza (2010), Braga (2013), Gomes (2006), Heffner (2011), Caleiro (2011), Silva (2019), Correia e Tápia (2016) e Prysthon (2013).
In the digital environment, film criticism is present both in vehicles that have already appeared on the internet and in those that subsequently migrated to this environment. Both types have their particularities. In this context, the following research problem arose: it is possible to find similarities between the criticism carried out in the vehicles coming from the printed form and those that have already appeared in the digital medium in order to provide subsidies for the practice of criticism today? The present research had as object of study some criticism of the film Mank published in four different vehicles, Folha de S. Paulo and Estadão, which represent the traditional printed media, and Omelete and Cinema em Cena, vehicles that have already been created in the digital environment. Based on this premise, the main objective of this research was to study the difference between traditional criticism and that which is already born in the digital world. In addition, secondary objectives were to provide a historical overview of the profession of criticism and film criticism, to identify the main changes over the years, to compare the texts studied and to analyze the power of interactivity. Finally, it is highlighted that, as theoretical assumptions, the thoughts of Piza (2010), Braga (2013), Gomes (2006), Heffner (2011), Caleiro (2011), Silva (2019), Correia and Tápia (2016) and Prysthon (2013).
In the digital environment, film criticism is present both in vehicles that have already appeared on the internet and in those that subsequently migrated to this environment. Both types have their particularities. In this context, the following research problem arose: it is possible to find similarities between the criticism carried out in the vehicles coming from the printed form and those that have already appeared in the digital medium in order to provide subsidies for the practice of criticism today? The present research had as object of study some criticism of the film Mank published in four different vehicles, Folha de S. Paulo and Estadão, which represent the traditional printed media, and Omelete and Cinema em Cena, vehicles that have already been created in the digital environment. Based on this premise, the main objective of this research was to study the difference between traditional criticism and that which is already born in the digital world. In addition, secondary objectives were to provide a historical overview of the profession of criticism and film criticism, to identify the main changes over the years, to compare the texts studied and to analyze the power of interactivity. Finally, it is highlighted that, as theoretical assumptions, the thoughts of Piza (2010), Braga (2013), Gomes (2006), Heffner (2011), Caleiro (2011), Silva (2019), Correia and Tápia (2016) and Prysthon (2013).
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crítica cinematográfica , Mank , jornalismo digital , film criticism , Mank , digital journalism