Videoactivismo En El Contexto De Las Protestas En Contra Del Mundial De Fútbol En Río De Janeiro (2014)

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Videoactivismo En El Contexto De Las Protestas En Contra Del Mundial De Fútbol En Río De Janeiro (2014) ADVERTIMENT. Lʼaccés als continguts dʼaquesta tesi queda condicionat a lʼacceptació de les condicions dʼús establertes per la següent llicència Creative Commons: http://cat.creativecommons.org/?page_id=184 ADVERTENCIA. El acceso a los contenidos de esta tesis queda condicionado a la aceptación de las condiciones de uso establecidas por la siguiente licencia Creative Commons: http://es.creativecommons.org/blog/licencias/ WARNING. The access to the contents of this doctoral thesis it is limited to the acceptance of the use conditions set by the following Creative Commons license: https://creativecommons.org/licenses/?lang=en FACULTAD DE CIENCIAS DE LA COMUNICACIÓN DOCTORADO EN CIENCIAS DE LA COMUNICACIÓN Y PERIODISMO DE LA CALLE A LA RED: VIDEOACTIVISMO EN EL CONTEXTO DE LAS PROTESTAS EN CONTRA DEL MUNDIAL DE FÚTBOL EN RÍO DE JANEIRO (2014) Tesis doctoral presentada por _____________________ Ana Lúcia Nunes de Sousa Directoras _____________________ Laura Cervi, Universidad Autónoma de Barcelona _____________________ Raquel Paiva, Universidade Federal do Rio de Janeiro Barcelona, 2017 Para Brad Will (In memorian), que en las imágenes que atraviesan mi memoria, repre- senta mi primer encuentro con la cámara como herramienta de lucha por justicia y cambio social. Brad, siempre te recordaremos en las barricadas. Este trabajo también está dedicado a las mujeres y hombres que hacen de la cámara su fusil. In memorian, dedico este pequeño esfuerzo para contribuir al cambio a Sérgio Luiz Santos das Dores, el “Presidente” de las calles y de las protestas en Río de Janeiro; a Daniel Cruz, videoactivista del Colectivo Mariachi, a quien los más desteñidos echarán de menos en la búsqueda por la mejor imagen; a Ayò – mi gran y eterno amor –, cuyo regreso al “orun” marcará mi vida para siempre. AGRADECIMIENTOS Mis más sinceros agradecimientos por la realización de este trabajo a todos los videoactivis- tas que reportaron las protestas en Río de Janeiro, en especial a todos los que accedieron a ser entrevistados y a compartir el trabajo de campo de esta tesis doctoral. Estaré infinita- mente agradecida con Patrick Granja y Guilherme Chalita, por la hermandad que construi- mos en la calle. A Victor Ribeiro, por las charlas interminables, por todas las sugerencias, por las críticas, por haber sido un guía sobre el advocacy video en estos cuatro años de doc- torado; y por los muchos sueños mediados a través de la cámara que osamos tejer. Yo espero que lo podamos cumplir. A Vick Birkbeck, Paula Kossatz, Claudia Castello y Katja Schirilló por hacerme ver la fuerza de la mujer videoactivista. A Deize Ribeiro y Buba Aguiar, por hacerme ver que la cámara debe estar al servicio del pueblo más pobre y oprimido: el pueblo negro y favelado. A Nilton José dos Reis Rocha, maestro, amigo, guía que confunde y libera el pensamiento; y a todos los compañeros de sueños y proyectos académicos del proyecto de extensión Mag- nífica Mundi, de la Universidad Federal de Goiás. A mis amigos y amigas, que mucho con- tribuyeron con esta tesis, leyendo, debatiendo, traduciendo, revisando y sembrando reflexio- nes: Kamyla Maia, Mariza Fernandes, Gabriela Marques, Patrícia da Veiga, Victor Ribeiro, José Ricardo Prieto, Marcela Canavarro, Vik Birkbeck, Suzanne Harris, Fernando Katz, Francis Oladipo y Miguel Colaço. A Miguel Gámez y Áurea Martín por la lectura y revisión cuidadosa de este material. A Luciana Faria por la bella contribución en forma de portada a la tesis. También agradezco de forma especial a Marcelo Ernandez Macedo, Leonardo Custódio y Muniz Sodré, quienes muy amablemente participaron de la pre-defensa de esta tesis doctoral, en diciembre del 2016, en la Universidad Federal do Río de Janeiro. Sin la generosidad de vuestras sugerencias y críticas, este trabajo no sería el mismo. A los participantes del grupo de comunicación comunitaria y alternativa de la IAMCR, en especial a Doroth Kidd, Tanja Dreher, Sasha-Constanza Shock, Gabriel Kaplún, Adilson Cabral, Andrea Medrado, Paola Sartoretto y Renata Souza, por los provechosos debates en Leicester (2016). A todos los compañeros de la IAMCR Winter School on Participation and Communication, realizada en Guanzhou (2016), por todo el amor compartido. En especial, a Nico Carpentier, Blerjana Bino, Kristian Jeff, Siddharth Chadha, Aanchal Sharma, Jacob Mukherjee, Vaia Doudaki y Arne Hintz por las enriquecedoras provocaciones académicas; y a los más de veinte académicos alrededor del mundo que han contribuido financieramente, a través de un crowdfunding, para hacer mi viaje posible. A Tania Cobos y Miguel Gámez, por la reconfortante compañía sudaka en un doctorado europeo. A la generosidad de las críticas y de las sugerencias de Arne Hintz, en el doctoral workshop, de la IAMCR Winter School on Participation and Communication; de Rosa Berganza, en el ECREA Journalism Studies’ PhD Workshop en Praga; y Andreas Hepp, en el workshop doctoral realizado en la Conferencia “Action on Media: Pioneer communities, social move- ments and civil society organizations”, realizada en la Universidad de Bremen. A todos los revisores anónimos de los artículos publicados en el marco de la realización de esta tesis por los excelentes comentarios, en especial a los editores de Brazilian Journalism Review y Nort- hern lights. A Bruce Mutsvairo, Leyla Haidarian y Suzanne Harris, por colaborar en mi bús- queda de la perspectiva ubu-ntu. A Alexandra Elbakyan y su proyecto Sci-Hub, sin la cual la mayor parte de la revisión bi- bliográfica y las reflexiones fruto de ella, no habrían sido posible. A la Coordinación de Perfeccionamiento de Enseñanza Superior de Brasil, por la beca concedida para la realiza- ción del doctorado. A mis directoras de tesis, Raquel Paiva y Laura Cervi, por el constante ánimo y por la libertad concedida en estos cuatro años para buscar mi propio camino. A María Reyes Gázquez, secretaria del Programa de Doctorado, por la paciencia y sonrisa constante en estos cuatro años de convivencia. Mi agradecimiento especial a las compañeras y compañeros de Black Barcelona, del Sindi- cato de los Vendedores Ambulantes y toda la afro diáspora en lucha. La necesidad de estar con ustedes me ha dado el impulso final para concluir la escritura. A mi madre, Benedita, por su amor incondicional. A mis hermanos, Lincom y Ana Paula, y a toda la familia Nunes Camargo por esta extraña forma de apoyar que crea nuestra fraterni- dad familiar. A mis sobrinos, Aline y Rafael, por llenar mi corazón de amor. Este trabajo es nuestro. Umunto ngumuntu nga bantu (motho he motho ka batho). RESUMEN A finales de 2010, el mundo fue tomado por imágenes de la rebeldía popular en el norte de África. En 2011, las protestas reivindicativas de lo común para los comunes se extendieron por España con el 15M/Indignadas; mientras que en los Estados Unidos emergió el Occupy Wall Street. En estos sucesos, la ciudadanía fue fundamental para propagar las narrativas desde adentro del movimiento. Los propios manifestantes, utilizando las redes y medios sociales, produjeron fotos, vídeos y transmitieron las protestas en vivo y en directo. En finales de mayo del 2013, Río de Janeiro vivía un momento de intensificación de las luchas sociales. Los movimientos sociales intentaban sacar provecho de la gran atención mediática dedicada a la ciudad, en virtud de la realización de mega-eventos como Copa de las Confederaciones de Fútbol, Jornada Mundial de la Juventud, etc. Las protestas se extendieron durante todo el 2013 y perduraron – con menos impacto – hasta la celebración del Mundial de Fútbol de la FIFA, realizado entre junio y julio del 2014. En todo este período, el vídeo online, circulando a través de las redes y medios sociales, emergió con fuerza, cuestionando la narrativa de los grandes medios y transformando a cada activista en un portavoz de los hechos, interpretados bajo su propia mirada. La potencia de la relación entre el audiovisual y las redes y medios sociales online parecía controvertir el dominio de las narrativas de los grandes medios informativos, los cuales casi siempre encuadraban negativamente a los movimientos sociales. En esta investigación doctoral, se propuso comprender el desarrollo de la práctica videoactivista, en Río de Janeiro, el contexto de las protestas en contra del Mundial de Fútbol del 2014. La investigación tiene como objetivos específicos reflexionar acerca de los procesos políticos representados en las obras videoactivistas; indagar las condiciones de producción y difusión de la narrativa videoactivista; comprender el uso de las redes y medios sociales como plataforma de producción, propagación y acción política; analizar la narrativa videoactivista, en términos de representación y participación. Para dar cuenta de esta complejidad, se ha optado por un modelo de investigación mixto, incorporando métodos cualitativos y cuantitativos, aplicados tanto online como offline. El trabajo de campo de esta investigación fue realizado entre el 7 de junio y el 15 de julio del 2014, acompañando a 10 grupos videoactivistas en todas sus actividades, a través de la investigación participante; además de incorporar 20 entrevistas semi-estructuradas. Fue creada una base de datos, seleccionando los vídeos producidos (173) en el periodo de la muestra, que fueron analizados desde su producción hasta su propagación. De estos 173 vídeos, 30 de ellos fueron analizados cuadro a cuadro, considerando aspectos narrativos, estéticos, políticos y la participación de la audiencia en la construcción de la narrativa a través de las redes y medios sociales. Los datos cuantitativos utilizados en esta investigación son el resultado de la aplicación de los métodos digitales de investigación, con la captura y visualización de datos de redes. Estos datos también fueron analizados a través del análisis de contenido. Mediante la aplicación de los métodos descritos – y articulándolos con el marco teórico –, se descubrió que, en relación a la producción audiovisual, se destacan tres subgéneros: las noticias/reportaje, el streaming y el vídeo con intención advocacy. Los grupos, pese a sus diferencias, actuaban en red y de forma interseccionada (online/offline), teniendo como factor fundamental de vinculación entre ellos, la vivencia en la calle.
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