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Abstract(s)
A presente dissertaĆ§Ć£o tem como objetivo discutir a inserĆ§Ć£o das figuras consideradas
drag queens no mercado cultural de massa e de que forma o programa RuPaulās Drag
Race se integra nesse cenĆ”rio. Para isso, abordam-se aspectos referentes Ć teoria crĆtica da
indĆŗstria cultural desenvolvida por Adorno e comentada por Taylor e Harris, alĆ©m de
permear o campo das competĆŖncias culturais de MartĆn-Barbero, a cultura dos mĆ©dia de
Douglas Kellner, a cultura na televisĆ£o de John Fiske e a convergĆŖncia mediĆ”tica de Henry
Jenkins. Desta forma, foi possĆvel justificar a inserĆ§Ć£o de tal expressĆ£o artĆstica no cenĆ”rio
cultural mainstream e sua relaĆ§Ć£o com a comunidade de fĆ£s, que acaba por desenvolver
caracterĆsticas prĆ³prias e ser parte importante nesse processo. Para tornar isso possĆvel,
foi realizada uma anĆ”lise de conteĆŗdo audiovisual, onde cinco episĆ³dios do programa sĆ£o
dissecados para encontrar quais caracterĆsticas da cultura drag estĆ£o presentes no
programa, tal como quais os instrumentos narrativos utilizados pela produĆ§Ć£o e como
Drag Race se tornou em um fenƓmeno cultural.
This dissertation has as its objective discuss on the insertion of the drag queen figure in the mass culture market, and how the TV show RuPaulās Drag Race is integrated in this scenario. In order to do that, weāll approach aspects referent to the critical theory of culture industry developed by Adorno, and commented by Taylor and Harris, in addition to permeating the field of cultural competences of MartĆn-Barbero, the media culture of Douglas Kellner, the television culture of John Fiske and Henry Jenkinsā media convergence, so that it is possible to justify the insertion of such artistic expression in the mainstream cultural scene and its relationship with the fan community, which ends up developing its own characteristics and being an important part in this process. To make this possible, an analysis of audiovisual content will be carried out, with five episodes of the show being analyzed to find which characteristics of the drag culture are shown in the program, while also pointing out which narrative elements are used by the production of the show and how Drag Race became a cultural phenomenon.
This dissertation has as its objective discuss on the insertion of the drag queen figure in the mass culture market, and how the TV show RuPaulās Drag Race is integrated in this scenario. In order to do that, weāll approach aspects referent to the critical theory of culture industry developed by Adorno, and commented by Taylor and Harris, in addition to permeating the field of cultural competences of MartĆn-Barbero, the media culture of Douglas Kellner, the television culture of John Fiske and Henry Jenkinsā media convergence, so that it is possible to justify the insertion of such artistic expression in the mainstream cultural scene and its relationship with the fan community, which ends up developing its own characteristics and being an important part in this process. To make this possible, an analysis of audiovisual content will be carried out, with five episodes of the show being analyzed to find which characteristics of the drag culture are shown in the program, while also pointing out which narrative elements are used by the production of the show and how Drag Race became a cultural phenomenon.
Description
Keywords
Drag Queen Estudos de Cultura IndĆŗstria Cultural Queer RupaulāS Drag Race