To quantitatively analyze the inconsistencies commonly observed between experimental and simulate... more To quantitatively analyze the inconsistencies commonly observed between experimental and simulated adsorption isotherms, parameter estimation of adsorption isotherm models was conducted by hierarchical Bayesian estimation with parameter uncertainties being quantified as probability distributions. The estimation method was implemented using Markov Chain Monte Carlo (MCMC) to analyze multiple data sets obtained from different sources, including a publicly available database. To describe the discrepancies of experimental and simulated adsorption data, the simulation data was set as the reference to which experimental measurements were compared. We applied the proposed approach to analyze CO 2 adsorption isotherms that are measured and simulated on zeolite 13X and MIL-101(Cr). In these case studies, the discrepancy of CO 2 adsorption isotherm was successfully quantified between experimental measurements and predictions given by molecular simulations using Grand Canonical Monte Carlo (GCMC), where uncertainties were quantified as probability distributions. Furthermore, experimental data sets that agree well with the GCMC simulation have been identified, providing insights into experimental and measurement methods as well as choosing the right assumptions in the molecular simulation.
This chapter expands on the structural analyses of earlier chapters by emphasizing the interrelat... more This chapter expands on the structural analyses of earlier chapters by emphasizing the interrelatedness of developments occurring within the post-2011 mediascape and a broader theme: blackness in two contemporary Brazilian serial comedies: Mister Brau (Mr. Brown) and O Grande Gonzalez (The Great Gonzalez). The analysis of the two series’ distinct portrayals of blackness embodies an argument in favor of studies of representation that include fictional works of television outside of or in addition to TV Globo’s telenovelas. More specifically, it is a call for scholars to consider the varied matters of representation within the context of the structural shifts occurring during the post-2011 mediascape, accounting for how such shifts have played (or perhaps not) a central role in expanding production beyond the hegemonic confines of TV Globo’s vertical production model, resulting in the emergence of new voices and the possibility for more critical contemplations of race and other pressing social issues.
The present chapter begins by delving deeper into the Brazilian mediascape during the period betw... more The present chapter begins by delving deeper into the Brazilian mediascape during the period between 1990 and 2011, revealing the early appearance of developments that challenged TV Globo’s audience shares over the two decades. This first part of the chapter sets the stage for the subsequent emergence of Porta dos Fundos, a recently formed independent production company and YouTube sensation. The remainder of the chapter explores the Pay-TV Law and the post-2011 mediascape through an analysis of Porta dos Fundos’s formation, founders, partnerships, and multimedia production.
This chapter establishes Brazil’s 2011 Pay-TV Law (Law 12.485/11) as the marker of the onset of t... more This chapter establishes Brazil’s 2011 Pay-TV Law (Law 12.485/11) as the marker of the onset of the new, still-developing Brazilian mediascape. The chapter outlines the major tenets of the Pay-TV Law while also situating its development and adoption within the larger political milieu beginning in 1990. By analyzing a wide array of data during the period between 1990 and 2018 and by emphasizing the increased presence of independent production companies, the number of hours produced, the number of distribution channels, funding sources, and the uptick in the creation of series, the analysis reveals the significant extent to which the Brazilian mediascape has expanded and become increasingly competitive since 2011.
This chapter focuses on the pay-television sector. Though it first arrived to Brazil in 1990, for... more This chapter focuses on the pay-television sector. Though it first arrived to Brazil in 1990, for the better part of two decades Brazilian pay-television was largely characterized by slow growth, access limited to the country’s most affluent classes, and a programming-grid chock-full of content imported from the United States. The Pay-TV Law’s establishment of quotas for locally produced content, however, has helped to carve out a space for the production and distribution of Brazilian content. With this in mind, the chapter analyzes 1 contra todos (1 Against All, Fox Brasil) and Lama dos dias (Mud of the Days, Canal Brasil). In addition to satisfying the content quotas outlined in the Pay-TV Law, both series benefited from government financing mechanisms, were directed by celebrated Brazilian filmmakers, and explicitly, albeit in distinct ways, contemplate the nation and Brazilianness.
This book focuses on these changes through the creation, production, distribution, and consumptio... more This book focuses on these changes through the creation, production, distribution, and consumption of a selection of television and Internet fiction, exploring the new mediascape that has taken root in Brazil since 2011. The objective is not to predict what that mediascape will be in the coming decades but to shed light on the emergence and the consequences of the post-2011 mediascape as a particular conjuncture. Ultimately, I argue that the ongoing transition from the nearly five-decade, TV Globo–dominated Network Era (1968–2011) to the increasingly competitive and fragmented post-2011 mediascape has given way to fundamental changes to the economic models, modes of production, producers, distribution windows, and consumption that have largely defined the Brazilian mediascape since the late 1960s. Such changes, I contend, also have major implications for the symbolic construction of the national social imaginary.
This chapter explores the expansion of Internet access in Brazil since 2011 and analyzes three cr... more This chapter explores the expansion of Internet access in Brazil since 2011 and analyzes three critically acclaimed web series: Septo (Septum, YouTube), Marcos: Uma websérie quase original (Marcos: An Almost Original Web series, Instagram and YouTube), and 3% (YouTube and Netflix). The former two were made exclusively for Internet distribution and are the products of recently formed production companies in cities far from the Rio–São Paulo axis of production: Natal and Caxias do Sul. While they differ in genre, tone, length, and themes, both Septo and Marcos stand out for representing regions of Brazil not often portrayed on the small screen during the period leading up to 2011. For its part, 3% eschews regional and national differences, focusing instead on a post-apocalyptic world. Unlike Septo and Marcos, both of which emerged within the context of the new Brazilian mediascape, the production of 3% spans the pre- and post-2011 mediascapes.
Brazil is both a leading television producer in the Global South and home to TV Globo, one of the... more Brazil is both a leading television producer in the Global South and home to TV Globo, one of the largest and most commercially successful networks in the world. Indeed, for nearly fifty years of its sixty-five year history, TV Globo and its standardized production of extremely popular telenovelas have largely come to characterize Brazilian television fiction as a whole. In this article, I situate the meteoric rise of the independent production company and YouTube sensation, Porta dos Fundos, within the broader context of TV Globo’s declining audience share and the wide-ranging effects of the Pay Television Law (2011). In doing so, I argue that Porta dos Fundos’s audiovisual production for the Internet and prime-time television serves as an illustrative case for understanding the interrelated ways in which recent policy, new distribution platforms, emerging independent production companies, and an influx of locally produced content are helping to shape the changing landscape of Braz...
Over the last twenty plus years numerous Brazilian film and television programs have constructed ... more Over the last twenty plus years numerous Brazilian film and television programs have constructed narratives of poverty and urban violence. In this article, I analyze the commercially inclined feature-length films, Cidade de Deus and Era uma vez… and the post-primetime television works, Cidade dos Homens and Suburbia through the theory of the “talk of crime” as developed by Teresa Caldeira. I will argue that film and television narratives that focus on crime perpetuate the same kind of stereotypes and lack of ambiguity that Caldiera describes as occurring in narratives of actual violence. By examining these audiovisual productions as the fictional equivalents of the “talk of crime,” we can gain important, interrelated insights regarding the broader field of Brazilian audiovisual production: how and why Brazilian film and television both “talk of crime,” despite ultimately producing narratives that, each in their own way, remain silent with regard to underlying reasons behind the crim...
This chapter focuses on TV Globo’s efforts to reposition itself within the increasingly complex a... more This chapter focuses on TV Globo’s efforts to reposition itself within the increasingly complex and competitive new Brazilian mediascape, particularly as those efforts pertain to strengthening its streaming service, Globo Play. With the growth of Netflix Brasil in recent years and the streaming platform’s emergence as one of Globo’s biggest threats, chapter six considers some of the tactics employed by Globo to remain competitive. Namely, such tactics center on the media conglomerate’s experimentation with its over-the-air and over-the-top businesses and an increased production in series. To illustrate Globo’s efforts in this arena, the chapter analyzes the production and rollout of two Globo original series, Supermax and Assédio.
In this book, Eli Carter explores the ways in which the movement away from historically popular t... more In this book, Eli Carter explores the ways in which the movement away from historically popular telenovelas toward new television and internet series is creating dramatic shifts in how Brazil imagines itself as a nation, especially within the context of an increasingly connected global mediascape. For more than half a century, South America’s largest over-the-air network, TV Globo, produced long-form melodramatic serials that cultivated the notion of the urban, upper-middle-class white Brazilian. Carter looks at how the expansion of internet access, the popularity of web series, the rise of independent production companies, and new legislation not only challenged TV Globo’s market domination but also began to change the face of Brazil’s growing audiovisual landscape. Combining sociohistorical, economic, and legal contextualization with close readings of audiovisual productions, Carter argues that a fragmented media has opened the door to new voices and narratives that represent a mo...
Although the Brazilian mediascape has been in transition since the early 1990s, the passage of th... more Although the Brazilian mediascape has been in transition since the early 1990s, the passage of the Pay-TV Law (Law 12.485) in 2011 established a new era. The Pay-TV Law has led to the rise of new distributors and production companies, a proliferation of viewing options, and a diversification of narrative formats. This increasingly competitive era has accelerated the fragmentation of TV Globo’s hegemony over the symbolic constructions of Brazil as an imagined community. In addition, this fragmentation has led to more diverse depictions of the country and its people, moving beyond the racially and geographically limited representations of TV Globo’s telenovelas, and thereby expanding the broader social imaginary. The series 3%, from a 2011 YouTube web pilot to its 2016 release as Netflix’s first original Brazilian series, is one prime example of production occurring beyond TV Globo’s reach, the ongoing transformation to the field, and the broadening depiction of how Brazil is imagined...
Langmuir : the ACS journal of surfaces and colloids, Jul 26, 2018
Parent and amine-functionalized analogues of the metal-organic frameworks (MOFs) UiO-66(Zr), MIL-... more Parent and amine-functionalized analogues of the metal-organic frameworks (MOFs) UiO-66(Zr), MIL-125(Ti), and MIL-101(Cr) were evaluated for their hydrogen sulfide (H2S) adsorption efficacy and post-exposure acid gas stability. Adsorption experiments were conducted through fixed-bed breakthrough studies utilizing multicomponent 1% H2S/99% CH4 and 1% H2S/10% CO2/89% CH4 natural gas simulant mixtures. Instability of MIL-101(Cr) materials after H2S exposure was discovered through diffraction and porosity measurements following adsorbent pelletization, while other materials retained their characteristic properties. Linker-based amine functionalities increased H2S breakthrough times and saturation capacities from their parent MOF analogues. Competitive CO2 adsorption effects were mitigated in mesoporous MIL-101(Cr) and MIL-101-NH2(Cr), in comparison to microporous UiO-66(Zr) and MIL-125(Ti) frameworks. This result suggests the installation of H2S binding sites in large pore MOFs could po...
Although perhaps best known outside Brazil for the feature-length film Lavoura Arcaica (To the Le... more Although perhaps best known outside Brazil for the feature-length film Lavoura Arcaica (To the Left of the Father) (2001), the majority of Luiz Fernando Carvalho's professional activity has been in television, where he has directed a number of commercially successful and critically acclaimed telenovelas, mini, and microseries. In Afinal, o que Querem as Mulheres? (After All, What do Women Want?) (2010), the director's first original screenplay for television, Carvalho lays bare his assessment of the audiovisual field by constructing a work of metafiction that is simultaneously a critique of Brazilian television fiction and an example of what an artistically engaged alternative might look like. With the intention of synthesizing Carvalho's position and his aesthetic project as they pertain to the broader field of Brazilian television production, this article analyzes select aspects of Afinal, o que Querem as Mulheres?, highlighting instances of the director's use of non-traditional narrative devices and the microseries as a metafictional critique of standardized Brazilian television fiction.
To quantitatively analyze the inconsistencies commonly observed between experimental and simulate... more To quantitatively analyze the inconsistencies commonly observed between experimental and simulated adsorption isotherms, parameter estimation of adsorption isotherm models was conducted by hierarchical Bayesian estimation with parameter uncertainties being quantified as probability distributions. The estimation method was implemented using Markov Chain Monte Carlo (MCMC) to analyze multiple data sets obtained from different sources, including a publicly available database. To describe the discrepancies of experimental and simulated adsorption data, the simulation data was set as the reference to which experimental measurements were compared. We applied the proposed approach to analyze CO 2 adsorption isotherms that are measured and simulated on zeolite 13X and MIL-101(Cr). In these case studies, the discrepancy of CO 2 adsorption isotherm was successfully quantified between experimental measurements and predictions given by molecular simulations using Grand Canonical Monte Carlo (GCMC), where uncertainties were quantified as probability distributions. Furthermore, experimental data sets that agree well with the GCMC simulation have been identified, providing insights into experimental and measurement methods as well as choosing the right assumptions in the molecular simulation.
This chapter expands on the structural analyses of earlier chapters by emphasizing the interrelat... more This chapter expands on the structural analyses of earlier chapters by emphasizing the interrelatedness of developments occurring within the post-2011 mediascape and a broader theme: blackness in two contemporary Brazilian serial comedies: Mister Brau (Mr. Brown) and O Grande Gonzalez (The Great Gonzalez). The analysis of the two series’ distinct portrayals of blackness embodies an argument in favor of studies of representation that include fictional works of television outside of or in addition to TV Globo’s telenovelas. More specifically, it is a call for scholars to consider the varied matters of representation within the context of the structural shifts occurring during the post-2011 mediascape, accounting for how such shifts have played (or perhaps not) a central role in expanding production beyond the hegemonic confines of TV Globo’s vertical production model, resulting in the emergence of new voices and the possibility for more critical contemplations of race and other pressing social issues.
The present chapter begins by delving deeper into the Brazilian mediascape during the period betw... more The present chapter begins by delving deeper into the Brazilian mediascape during the period between 1990 and 2011, revealing the early appearance of developments that challenged TV Globo’s audience shares over the two decades. This first part of the chapter sets the stage for the subsequent emergence of Porta dos Fundos, a recently formed independent production company and YouTube sensation. The remainder of the chapter explores the Pay-TV Law and the post-2011 mediascape through an analysis of Porta dos Fundos’s formation, founders, partnerships, and multimedia production.
This chapter establishes Brazil’s 2011 Pay-TV Law (Law 12.485/11) as the marker of the onset of t... more This chapter establishes Brazil’s 2011 Pay-TV Law (Law 12.485/11) as the marker of the onset of the new, still-developing Brazilian mediascape. The chapter outlines the major tenets of the Pay-TV Law while also situating its development and adoption within the larger political milieu beginning in 1990. By analyzing a wide array of data during the period between 1990 and 2018 and by emphasizing the increased presence of independent production companies, the number of hours produced, the number of distribution channels, funding sources, and the uptick in the creation of series, the analysis reveals the significant extent to which the Brazilian mediascape has expanded and become increasingly competitive since 2011.
This chapter focuses on the pay-television sector. Though it first arrived to Brazil in 1990, for... more This chapter focuses on the pay-television sector. Though it first arrived to Brazil in 1990, for the better part of two decades Brazilian pay-television was largely characterized by slow growth, access limited to the country’s most affluent classes, and a programming-grid chock-full of content imported from the United States. The Pay-TV Law’s establishment of quotas for locally produced content, however, has helped to carve out a space for the production and distribution of Brazilian content. With this in mind, the chapter analyzes 1 contra todos (1 Against All, Fox Brasil) and Lama dos dias (Mud of the Days, Canal Brasil). In addition to satisfying the content quotas outlined in the Pay-TV Law, both series benefited from government financing mechanisms, were directed by celebrated Brazilian filmmakers, and explicitly, albeit in distinct ways, contemplate the nation and Brazilianness.
This book focuses on these changes through the creation, production, distribution, and consumptio... more This book focuses on these changes through the creation, production, distribution, and consumption of a selection of television and Internet fiction, exploring the new mediascape that has taken root in Brazil since 2011. The objective is not to predict what that mediascape will be in the coming decades but to shed light on the emergence and the consequences of the post-2011 mediascape as a particular conjuncture. Ultimately, I argue that the ongoing transition from the nearly five-decade, TV Globo–dominated Network Era (1968–2011) to the increasingly competitive and fragmented post-2011 mediascape has given way to fundamental changes to the economic models, modes of production, producers, distribution windows, and consumption that have largely defined the Brazilian mediascape since the late 1960s. Such changes, I contend, also have major implications for the symbolic construction of the national social imaginary.
This chapter explores the expansion of Internet access in Brazil since 2011 and analyzes three cr... more This chapter explores the expansion of Internet access in Brazil since 2011 and analyzes three critically acclaimed web series: Septo (Septum, YouTube), Marcos: Uma websérie quase original (Marcos: An Almost Original Web series, Instagram and YouTube), and 3% (YouTube and Netflix). The former two were made exclusively for Internet distribution and are the products of recently formed production companies in cities far from the Rio–São Paulo axis of production: Natal and Caxias do Sul. While they differ in genre, tone, length, and themes, both Septo and Marcos stand out for representing regions of Brazil not often portrayed on the small screen during the period leading up to 2011. For its part, 3% eschews regional and national differences, focusing instead on a post-apocalyptic world. Unlike Septo and Marcos, both of which emerged within the context of the new Brazilian mediascape, the production of 3% spans the pre- and post-2011 mediascapes.
Brazil is both a leading television producer in the Global South and home to TV Globo, one of the... more Brazil is both a leading television producer in the Global South and home to TV Globo, one of the largest and most commercially successful networks in the world. Indeed, for nearly fifty years of its sixty-five year history, TV Globo and its standardized production of extremely popular telenovelas have largely come to characterize Brazilian television fiction as a whole. In this article, I situate the meteoric rise of the independent production company and YouTube sensation, Porta dos Fundos, within the broader context of TV Globo’s declining audience share and the wide-ranging effects of the Pay Television Law (2011). In doing so, I argue that Porta dos Fundos’s audiovisual production for the Internet and prime-time television serves as an illustrative case for understanding the interrelated ways in which recent policy, new distribution platforms, emerging independent production companies, and an influx of locally produced content are helping to shape the changing landscape of Braz...
Over the last twenty plus years numerous Brazilian film and television programs have constructed ... more Over the last twenty plus years numerous Brazilian film and television programs have constructed narratives of poverty and urban violence. In this article, I analyze the commercially inclined feature-length films, Cidade de Deus and Era uma vez… and the post-primetime television works, Cidade dos Homens and Suburbia through the theory of the “talk of crime” as developed by Teresa Caldeira. I will argue that film and television narratives that focus on crime perpetuate the same kind of stereotypes and lack of ambiguity that Caldiera describes as occurring in narratives of actual violence. By examining these audiovisual productions as the fictional equivalents of the “talk of crime,” we can gain important, interrelated insights regarding the broader field of Brazilian audiovisual production: how and why Brazilian film and television both “talk of crime,” despite ultimately producing narratives that, each in their own way, remain silent with regard to underlying reasons behind the crim...
This chapter focuses on TV Globo’s efforts to reposition itself within the increasingly complex a... more This chapter focuses on TV Globo’s efforts to reposition itself within the increasingly complex and competitive new Brazilian mediascape, particularly as those efforts pertain to strengthening its streaming service, Globo Play. With the growth of Netflix Brasil in recent years and the streaming platform’s emergence as one of Globo’s biggest threats, chapter six considers some of the tactics employed by Globo to remain competitive. Namely, such tactics center on the media conglomerate’s experimentation with its over-the-air and over-the-top businesses and an increased production in series. To illustrate Globo’s efforts in this arena, the chapter analyzes the production and rollout of two Globo original series, Supermax and Assédio.
In this book, Eli Carter explores the ways in which the movement away from historically popular t... more In this book, Eli Carter explores the ways in which the movement away from historically popular telenovelas toward new television and internet series is creating dramatic shifts in how Brazil imagines itself as a nation, especially within the context of an increasingly connected global mediascape. For more than half a century, South America’s largest over-the-air network, TV Globo, produced long-form melodramatic serials that cultivated the notion of the urban, upper-middle-class white Brazilian. Carter looks at how the expansion of internet access, the popularity of web series, the rise of independent production companies, and new legislation not only challenged TV Globo’s market domination but also began to change the face of Brazil’s growing audiovisual landscape. Combining sociohistorical, economic, and legal contextualization with close readings of audiovisual productions, Carter argues that a fragmented media has opened the door to new voices and narratives that represent a mo...
Although the Brazilian mediascape has been in transition since the early 1990s, the passage of th... more Although the Brazilian mediascape has been in transition since the early 1990s, the passage of the Pay-TV Law (Law 12.485) in 2011 established a new era. The Pay-TV Law has led to the rise of new distributors and production companies, a proliferation of viewing options, and a diversification of narrative formats. This increasingly competitive era has accelerated the fragmentation of TV Globo’s hegemony over the symbolic constructions of Brazil as an imagined community. In addition, this fragmentation has led to more diverse depictions of the country and its people, moving beyond the racially and geographically limited representations of TV Globo’s telenovelas, and thereby expanding the broader social imaginary. The series 3%, from a 2011 YouTube web pilot to its 2016 release as Netflix’s first original Brazilian series, is one prime example of production occurring beyond TV Globo’s reach, the ongoing transformation to the field, and the broadening depiction of how Brazil is imagined...
Langmuir : the ACS journal of surfaces and colloids, Jul 26, 2018
Parent and amine-functionalized analogues of the metal-organic frameworks (MOFs) UiO-66(Zr), MIL-... more Parent and amine-functionalized analogues of the metal-organic frameworks (MOFs) UiO-66(Zr), MIL-125(Ti), and MIL-101(Cr) were evaluated for their hydrogen sulfide (H2S) adsorption efficacy and post-exposure acid gas stability. Adsorption experiments were conducted through fixed-bed breakthrough studies utilizing multicomponent 1% H2S/99% CH4 and 1% H2S/10% CO2/89% CH4 natural gas simulant mixtures. Instability of MIL-101(Cr) materials after H2S exposure was discovered through diffraction and porosity measurements following adsorbent pelletization, while other materials retained their characteristic properties. Linker-based amine functionalities increased H2S breakthrough times and saturation capacities from their parent MOF analogues. Competitive CO2 adsorption effects were mitigated in mesoporous MIL-101(Cr) and MIL-101-NH2(Cr), in comparison to microporous UiO-66(Zr) and MIL-125(Ti) frameworks. This result suggests the installation of H2S binding sites in large pore MOFs could po...
Although perhaps best known outside Brazil for the feature-length film Lavoura Arcaica (To the Le... more Although perhaps best known outside Brazil for the feature-length film Lavoura Arcaica (To the Left of the Father) (2001), the majority of Luiz Fernando Carvalho's professional activity has been in television, where he has directed a number of commercially successful and critically acclaimed telenovelas, mini, and microseries. In Afinal, o que Querem as Mulheres? (After All, What do Women Want?) (2010), the director's first original screenplay for television, Carvalho lays bare his assessment of the audiovisual field by constructing a work of metafiction that is simultaneously a critique of Brazilian television fiction and an example of what an artistically engaged alternative might look like. With the intention of synthesizing Carvalho's position and his aesthetic project as they pertain to the broader field of Brazilian television production, this article analyzes select aspects of Afinal, o que Querem as Mulheres?, highlighting instances of the director's use of non-traditional narrative devices and the microseries as a metafictional critique of standardized Brazilian television fiction.
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