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Esta dissertação tem como objetivo investigar as relações entre representações de assassinatos e a internet no Brasil, posicionando, em particular, crimes da década de 2010 como eventos culturais que remedeiam linguagens e práticas estabelecidas (nomeadamente dos mundos da imprensa, da música, do cinema e da televisão) como forma de confrontar desigualdades ou heranças de imaginários violentos. Como hipótese geral, questiona-se se, em função da digitalização promovida pelas indústrias culturais, o legado moderno das narrativas de violência apresenta continuidades. Através de uma análise sobre como a crítica da modernidade tardia teorizou as indústrias culturais latino-americanas e os modos pelos quais o Brasil produziu e reproduziu crimes em tempos de globalização, é revisitada a produção acadêmica sobre a modernidade tardia para ligar casos de homicídio mediados pelo YouTube e Facebook a transformações sociotecnológicas mais amplas. Teriam as práticas nos ambientes digitais desafiado comunicações hierárquicas, ou perpetuado estratificações de longa data? Ademais, a investigação pretende localizar especificidades sobre o caso brasileiro no período, e compreender o que poderiam ser peculiares engrenagens a envolver crime e cultura, entre 2013 e 2019. Utilizando-se de uma perspectiva dos estudos de cultura, para que as manifestações culturais sob análise reflitam a prática contemporânea de produção, recepção e consumo de histórias de crimes reais após a viragem digital, a pesquisa debate o conceito de circularidades da criminologia cultural para revelar como mediações contemporâneas alteram a maneira com que a comunicação de massa se apossou de funções do Estado antes da chegada do século XXI. A tese postula que os enredos criminais (agora em rede) ainda fazem circular materialidades estéticas e discursos de violência relativos a enredamentos estruturais da modernidade tardia brasileira, nomeadamente a apropriação da violência por táticas do sensacionalismo e do espetáculo, retóricas do punitivismo e da substituição de instituições estatais na resposta aos problemas de segurança pública.
This dissertation aims to investigate the relationships between representations of murder and the internet in Brazil, positioning, in particular, crimes of the 2010s as cultural events that remediate established languages and practices (namely from the press, music, cinema and television) as ways of confronting inequalities or violent imaginaries. As a general hypothesis, it is questioned whether, due to the digitalization promoted by the cultural industries, the modern legacy of narratives of violence presents continuities. Through an analysis of how the critique of late modernity theorized Latin American cultural industries and the ways in which Brazil produced and reproduced crimes in times of globalization, the academic production on postmodernity is revisited to link homicide cases mediated by YouTube and Facebook to broader socio- technological transformations. Have practices in digital environments challenged hierarchical communications, or perpetuated long-standing stratifications? Furthermore, the research aims to locate specificities about the Brazilian case in the period, and to understand peculiar mechanisms involving crime and culture, between 2013 and 2019. Employing a culture studies perspective, in order for the cultural manifestations under analysis to reflect the contemporary practices of production, reception and consumption of true crime stories after the digital turn, the research discusses the concept of loops and spirals from cultural criminology to reveal how contemporary mediations alter the way in which mass communication took over functions of the state before the 21st century. The thesis posits that criminal plots (now online) still circulate aesthetic materialities and discourses of violence related to structural entanglements of the Brazilian late modernity, namely the appropriation of violence by tactics of sensationalism and spectacle, punitive rhetorics and a claim for the replacement of state institutions in responding to public safety problems.
This dissertation aims to investigate the relationships between representations of murder and the internet in Brazil, positioning, in particular, crimes of the 2010s as cultural events that remediate established languages and practices (namely from the press, music, cinema and television) as ways of confronting inequalities or violent imaginaries. As a general hypothesis, it is questioned whether, due to the digitalization promoted by the cultural industries, the modern legacy of narratives of violence presents continuities. Through an analysis of how the critique of late modernity theorized Latin American cultural industries and the ways in which Brazil produced and reproduced crimes in times of globalization, the academic production on postmodernity is revisited to link homicide cases mediated by YouTube and Facebook to broader socio- technological transformations. Have practices in digital environments challenged hierarchical communications, or perpetuated long-standing stratifications? Furthermore, the research aims to locate specificities about the Brazilian case in the period, and to understand peculiar mechanisms involving crime and culture, between 2013 and 2019. Employing a culture studies perspective, in order for the cultural manifestations under analysis to reflect the contemporary practices of production, reception and consumption of true crime stories after the digital turn, the research discusses the concept of loops and spirals from cultural criminology to reveal how contemporary mediations alter the way in which mass communication took over functions of the state before the 21st century. The thesis posits that criminal plots (now online) still circulate aesthetic materialities and discourses of violence related to structural entanglements of the Brazilian late modernity, namely the appropriation of violence by tactics of sensationalism and spectacle, punitive rhetorics and a claim for the replacement of state institutions in responding to public safety problems.
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Keywords
Representações da violência Brasil Culturas digitais Modernidade tardia Indústrias culturais Representations of violence Brazil Digital cultures Late modernity Cultural industries