Camila Augusta Pires de Figueiredo
UFMG - The Federal University of Minas Gerais, UFMG, Department Member
- Intermedia, Comparative Literature, Literature and cinema, Comics and Graphic Novels, Comic Adaptation, Comics Studies, and 25 moreFilm Studies, Adaptation Studies, Intermediality, Film Adaptation, Crime fiction, Thierry Groensteen, Popular Culture, Video Games, Film Analysis, Adaptation, Transmedia, Transmedia Storytelling, Adaptation (Film Studies), Film and Media Studies, Transmedial Storytelling, Film Aesthetics, Television Studies, Transmediality, Transmedial Narratology, Telenovelas, Fan Cultures, Comic Book Studies, Television, Media Studies, and Adaptation (Literature)edit
- Doctor in Comparative Literature/Literature, Arts and Media at UFMG, Brazil, with mobility at Technische Universität ... moreDoctor in Comparative Literature/Literature, Arts and Media at UFMG, Brazil, with mobility at Technische Universität Braunschweig. Masters in English Literature at UFMG. Editor and vice-director at UFMG Publishing Press. Research interests: publishing, adaptation, comics, transmedia, intermediality.edit
Este livro é composto de textos de autoria de eminentes pesquisadores, traduzidos por membros do Grupo de Pesquisa Intermídia: Estudos sobre a Intermidialidade. O volume se inicia com um texto de Claus Clüver, professor emérito da... more
Este livro é composto de textos de autoria de eminentes pesquisadores, traduzidos por membros do Grupo de Pesquisa Intermídia: Estudos sobre a Intermidialidade. O volume se inicia com um texto de Claus Clüver, professor emérito da Universidade de Indiana, que faz uma síntese crítica dos estudos das relações entre literatura e as outras artes e mídias. Os textos que se seguem, divididos em três seções – Cinema e adaptação, Palavra e imagem e Transmidia(lidade) –, discutem e ilustram procedimentos intermidiáticos como, por exemplo, a tradução, a écfrase, a transmidialidade, a transposição, as referências intermidiáticas e a combinação das mídias.
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FIGUEIREDO, Camila Augusta Pires de; Diniz, T.F.N.; OLIVEIRA, S. R. A intermidialidade e os estudos interartes na arte contemporânea. Santa Maria: Editora UFSM, 2020. 320p.
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FIGUEIREDO, Camila Augusta Pires de; ARBEX, M. M. V.; VIEIRA, M. P.; LIMA, C. N. (Orgs.). Escrita, som, imagem: leituras ampliadas. Belo Horizonte: Fino Traço, 2020, 216p.
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Literacy and learning to read media forms have been somewhat underestimated, even if the wide-ranging debates about the conceptualization of the notion of intermediality involving the interrelationships between arts and media have been... more
Literacy and learning to read media forms have been somewhat underestimated, even if the wide-ranging debates about the conceptualization of the notion of intermediality involving the interrelationships between arts and media have been fruitful and achieved the status of an academic field. The concern with reading the media started to be part of the curricula around the 1980s, with the introduction of television in classrooms, in the context that Santaella calls media culture; however, these actions were often thought of from an intertextual perspective, and the systematic introduction of intermediality studies in pedagogical practices still tends to be subordinated to broader fields, such as comparative literature, film and media studies, and even art history. Among the initiatives to systematize the teaching of intermediality, Semali and Pailliotet’s stands out, which, at the turn of the century, points to the need to mobilize critical reading and writing skills with and through different systems of signs (which then come to be considered forms of media). Rajewsky, Wolf, and Elleström propose to integrate (inter)mediality into literary studies. To Bruhn, Bruhn and Gjelsvik, and Bruhn and Schirrmacher, intermediality is treated as an object and method of potential investigation, as well as a theory. Meanwhile, both Cutchins and Hallet provide attempts at systematization, the first seeking to take advantage of adaptations to teach literature and the latter aiming at an intermedial analysis of literary objects. To understand the entry of intermediality studies in pedagogical practices, and departing from the proposal of Semali and Pailliotet, the objective of this article is to assemble and comment published works written in the English language on literacy and the systematic teaching of intermediality.
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Nos estudos de intermidialidade, os processos de representação de mídia e de transmidiação tratam da maneira como certas características midiáticas são transformadas ao serem transferidas de uma determinada mídia a outra. A análise desses... more
Nos estudos de intermidialidade, os processos de representação de mídia e de transmidiação tratam da maneira como certas características midiáticas são transformadas ao serem transferidas de uma determinada mídia a outra. A análise desses fenômenos envolvendo determinado tipo de mídia qualificada ou de produtos de mídia específicos segundo Lars Elleström (2014; 2017; 2021) pode ajudar a identificar as formas pelas quais essas mídias comunicam informações específicas e com que finalidade. Neste trabalho pretendo examinar as estratégias de representação de mídia e de transmidiação em quadrinhos, tomando como exemplo o caso de Sabrina, de Nick Drnaso, primeira graphic novel a ser indicada ao prêmio literário Man Booker Prize. Meu objetivo é refletir sobre a função comunicacional de tais fenômenos midiáticos na obra, buscando entender como esses tipos de transformação de mídia atuam nos processos de significação. A partir de alguns exemplos de Sabrina, aponto como tais fenômenos afetam a maneira como interpretamos os eventos narrativos, em especial as notícias que reverberam o assassinato da personagem que dá nome ao livro.
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In: Fernando Irigaray, Vicente Gosciola e Teresa Piñero-Otero (org.). Dimensões Transmídia. Aveiro: Ria Editorial, 2019.
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Este estudo busca reexaminar conceitos conhecidos da intermidialidade pela perspectiva dos estudos de edição, evidenciando o caso de livros impressos que fazem parte de projetos ou redes multiplataformas ou transmidiais, os quais designo... more
Este estudo busca reexaminar conceitos conhecidos da intermidialidade pela perspectiva dos estudos de edição, evidenciando o caso de livros impressos que fazem parte de projetos ou redes multiplataformas ou transmidiais, os quais designo por “publicações convergentes”. Para isso, utilizo conceitos como o de narrativa transmídia, de Henry Jenkins (2009), de transmidiação, de Lars Elleström (2014), bem como o modelo metodológico de Simone Murray (2008) para a análise de adaptações em seus contextos de produção. Abordando alguns exemplos relativos a diários de personagens ficcionais, roteiros cinematográficos e romancizações, esta pesquisa pretende trazer à luz aspectos editoriais e midiáticos de publicações frequentemente consideradas de pouco interesse de pesquisa.
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Despite being two of the most popular medial phenomena in contemporary culture, few studies have been devoted to understanding what happens when adaptations meet transmedial franchises. In this study, I propose an examination of two cases... more
Despite being two of the most popular medial phenomena in contemporary culture, few studies have been devoted to understanding what happens when adaptations meet transmedial franchises. In this study, I propose an examination of two cases in which one or more original texts have been adapted into the form of a transmedial franchise, resulting in a transmedial adaptation. The aim is to understand how transmedial adaptations transcend traditional binary models of adaptation, with one or several texts being adapted into a convergent project composed of several media. Using the examples provided, I also seek to examine how this multi-media phenomenon activates different textual and medial dynamics. In order to do so, I will use an approach that considers both intermedial and transmedial aspects of the phenomenon.
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In the interval between the production of the short films Time Piece (released in 1965) and The Cube (released in 1969), Jim Henson and Jerry Juhl wrote the first draft of Tale of Sand, with the aim of adapting it into a feature-length... more
In the interval between the production of the short films Time Piece (released in 1965) and The Cube (released in 1969), Jim Henson and Jerry Juhl wrote the first draft of Tale of Sand, with the aim of adapting it into a feature-length film one day. However, both Henson and Juhl eventually became involved in other projects, so their manuscript remained forgotten for several years and the film was never produced. Found after some decades in The Jim Henson Company’s archives, the screenplay was adapted into an award-winning graphic novel in 2011 and three years later it was published as an illustrated screenplay, both with illustrations by Ramon K. Pérez. In this article, I analyse the graphic novel as an adaptation of the original screenplay, briefly focusing on how it combines different media types and production paratexts. Then, I examine the illustrated screenplay, its medial characteristics as well as its relevance within the adaptive/editorial project. The investigation considers the cultural and economic contexts of production and publication of screenplays, and their impact on adaptive choices and practices.
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Introduction to the book 19th Century Revisited: Adaptations and Appropriations (2018)
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Serial narratives such as TV series have their own language, genres and narrative tools, according to their media specificities. It is observed that television today is going through a process of rapid cultural and technological... more
Serial narratives such as TV series have their own language, genres and narrative tools, according to their media specificities. It is observed that television today is going through a process of rapid cultural and technological transformations. Such advances have led to profound changes in the formats of the series, as well as in their modes of production and consumption. As for the production aspects, for example, we observe the creation of new narrative models in which the technological resources are shaped as extensions of the television product, creating a multiplatform or transmedial narrative experience. In this paper we will examine the case of the television series Sherlock by Steven Moffat and Mark Gatiss, broadcasted by BBC, as an example of a program designed for a transmedia television, one that encouraged the emergence of an engaged audience willing to follow the series beyond the TV screen across other media platforms.
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The term " transmedia " has gained popularity in the entertainment industry and has been widely used to designate the use of several media platforms that converge to tell a story. As a result, transmedia changes the modes of consumption... more
The term " transmedia " has gained popularity in the entertainment industry and has been widely used to designate the use of several media platforms that converge to tell a story. As a result, transmedia changes the modes of consumption and production of contemporary cultural products. On one hand, transmedial projects attract consumers that are no longer just readers or players (or users, spectators, etc.), but are a combination of them. On the other hand, these projects oten require " superproducers " or " superartists " , with knowledge and skills in various media, or a well-planned collaboration between producers or artists. In this article, we will examine the collaborative productions in the Canadian Secret Path (2016) and in the Brazilian Airplane Mode (2017) transmedial projects.
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Neste artigo examinaremos alguns casos em que a transmídia foi utilizada por editoras brasileiras como ferramenta de criação de mídias suplementares aos seus livros. Além do próprio caráter do fenômeno transmídia, que se relaciona aos... more
Neste artigo examinaremos alguns casos em que a transmídia foi utilizada por editoras brasileiras como ferramenta de criação de mídias suplementares aos seus livros. Além do próprio caráter do fenômeno transmídia, que se relaciona aos novos modos de escrita e leitura, e de produção e consumo de mídias na atualidade, interessa-nos analisar o propósito dos projetos transmídia elaborados pelas casas editoriais brasileiras, bem como as mídias e estratégias empregadas por elas. A partir da observação dos exemplos coletados, buscaremos traçar um perfil dos gêneros literários escolhidos, do público-alvo, das mídias empregadas e dos objetivos almejados.
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Este artigo propõe um breve panorama histórico sobre o debate teórico de quadrinhos e filmes, examinando alguns dos principais textos publicados nas últimas cinco décadas sobre a relação entre as duas mídias em geral e, em especial, de... more
Este artigo propõe um breve panorama histórico sobre o debate teórico
de quadrinhos e filmes, examinando alguns dos principais textos
publicados nas últimas cinco décadas sobre a relação entre as duas mídias
em geral e, em especial, de adaptações de quadrinhos para o cinema. Para
que se possa construir uma análise mais acurada, é importante considerar
as especificidades de cada mídia e a consequência dessas características
midiáticas particulares para o processo de transposição das páginas dos
quadrinhos para a tela do cinema.
de quadrinhos e filmes, examinando alguns dos principais textos
publicados nas últimas cinco décadas sobre a relação entre as duas mídias
em geral e, em especial, de adaptações de quadrinhos para o cinema. Para
que se possa construir uma análise mais acurada, é importante considerar
as especificidades de cada mídia e a consequência dessas características
midiáticas particulares para o processo de transposição das páginas dos
quadrinhos para a tela do cinema.
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A fim de examinar e compreender certos produtos culturais contemporâneos em toda sua complexidade, é fundamental adotarmos não apenas uma abordagem intermidiática que permita estabelecer uma comparação avaliativa entre duas ou mais mídias... more
A fim de examinar e compreender certos produtos culturais contemporâneos em toda sua complexidade, é fundamental adotarmos não apenas uma abordagem intermidiática que permita estabelecer uma comparação avaliativa entre duas ou mais mídias distintas, mas também uma abordagem transmidiática que possibilite incluir como objeto de estudo as extensões em outras mídias que suplementam uma narrativa principal ou que se suplementam mutuamente. Este texto propõe a discussão a respeito das fronteiras da transmidialidade e das franquias transmidiáticas no âmbito do campo mais amplo da intermidialidade.
Expanding the Borders: Transmedia within the Field of Intermediality
In order to examine and comprehend certain contemporary cultural products in all their complexity, it is fundamental that we adopt not only an intermedial approach, which allows to establish an evaluative comparison between two or more distinct media, but also a transmedial approach, which makes it possible to include as object of study the extensions in other media that supplement a main narrative or that mutually supplement each other. This essay proposes a discussion concerning the boundaries of transmediality and transmedial franchises within the broader field of intermediality.
Expanding the Borders: Transmedia within the Field of Intermediality
In order to examine and comprehend certain contemporary cultural products in all their complexity, it is fundamental that we adopt not only an intermedial approach, which allows to establish an evaluative comparison between two or more distinct media, but also a transmedial approach, which makes it possible to include as object of study the extensions in other media that supplement a main narrative or that mutually supplement each other. This essay proposes a discussion concerning the boundaries of transmediality and transmedial franchises within the broader field of intermediality.
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Resumo: Há alguns anos, nota-se uma tendência em produções contemporâneas de se envolverem em uma rede em que a história se desdobra em múltiplas plataformas e em que várias mídias convergem e se entrelaçam, condição que é chamada de... more
Resumo: Há alguns anos, nota-se uma tendência em produções contemporâneas de se envolverem em uma rede em que a história se desdobra em múltiplas plataformas e em que várias mídias convergem e se entrelaçam, condição que é chamada de transmídia. A narrativa transmídia designa a utilização de várias plataformas midiáticas que convergem para contar uma história, sendo que cada novo texto contribui de forma distinta para tal. Este estudo examina o modo como a narrativa transmídia narra histórias, bem como os tipos de histórias que normalmente são contadas por meio da narrativa transmídia.
Transmedia Storytelling: ways of narrating and types of stories
Abstract: For some years now, we have observed a tendency in contemporary productions to get involved in a network in which the story unfolds across multiple platforms and several media converge and intertwine, a condition that is called transmedia. Transmedia narrative designates the use of several media platforms that converge in order to tell a story, in which each medium makes a unique contribution to that. This study examines the way transmedia narrative narrates stories, as well as the kinds of stories that are normally told by means of transmedia narrative.
Transmedia Storytelling: ways of narrating and types of stories
Abstract: For some years now, we have observed a tendency in contemporary productions to get involved in a network in which the story unfolds across multiple platforms and several media converge and intertwine, a condition that is called transmedia. Transmedia narrative designates the use of several media platforms that converge in order to tell a story, in which each medium makes a unique contribution to that. This study examines the way transmedia narrative narrates stories, as well as the kinds of stories that are normally told by means of transmedia narrative.
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This article proposes a discussion on the specificities of the comics medium and their consequence to the process of transposition of comics – and particularly of graphic novels – into films. In order to support this debate, I will draw... more
This article proposes a discussion on the specificities of the comics medium and their consequence to the process of transposition of comics – and particularly of graphic novels – into films. In order to support this debate, I will draw upon Irina Rajewsky’s and Pascal Lefèvre’s theoretical articles.