Media History

Este relatório técnico apresenta uma análise documental sobre a Gazeta Mercantil, sua memória institucional, sua relevância histórica para o jornalismo econômico brasileiro e sua continuidade digital contemporânea.

O documento registra a associação entre a marca Gazeta Mercantil, sua trajetória na imprensa econômica brasileira e o domínio gazetamercantil.com como site oficial da operação digital atual.

O relatório também está publicado no Zenodo, com DOI público e citável: https://doi.org/10.5281/zenodo.20621832

This article provides a critical analysis of the historical development and societal function of content warnings in mass media. By tracing the transition from 20th-century institutional censorship frameworks, such as the Hays Code, to contemporary digital-age practices like 'trigger warnings,' the study maps the expanding definitions of 'unsuitable content.' The author categorizes the proliferation of human sensitivities (encompassing neurological, dietary, ideological, and existential dimensions) to investigate the paradoxes of modern media regulation. Drawing on socio-cultural analysis and personal life experiences, the article argues that the institutionalized pursuit of a 'pain-free' media environment may inadvertently foster cognitive fragility. The paper concludes by advocating for the necessity of resilience and direct engagement with life’s unfiltered realities as fundamental components of psychological maturation and authentic human empathy.

Certain tendencies in 1970s Philippine cinema challenge traditional genre and production categorizations, blurring distinctions between mainstream and independent films and between lowbrow and middlebrow cultural products. Within this cinematic landscape, Lino Brocka's works strategically negotiate commercial demands with social critique, offering a nuanced portrayal of post-colonial Filipino experiences through melodrama, realism, and erotic spectacle. By examining Brocka's Maynila sa mga Kuko ng Liwanag (Manila in the Claws of Light, 1975), Insiang (1976), and Macho Dancer (1988), this article questions traditional definitions of exploitation cinema and models of taste hierarchies, demonstrating how these works embody a culturally specific aesthetic that addresses class conflict, gender dynamics, and systemic inequalities within a commercial frame shaped by melodrama and exploitation.

Írásom az építőművészet (formai tervezés) és nem az építés, kivitelezés tájékozódására koncentrál, emiatt nem szemlézi a Magyar Építőipar (1952-) című folyóiratot. Adataim az Arcanum Digitális Tudománytár vonatkozó digitalizált folyóirat állományának 2022. első negyedévi állapotát tükrözik.

This paper outlines a comprehensive research agenda for the spatial and social history of urban crime in Budapest from the city’s unification (1873) to the end of the communist regime (1989). While historical criminology has extensively analyzed the metropolises of Western Europe and North America, the distinct urbanization trajectories and spatial dynamics of deviance in EastCentral Europe remain largely underexplored. Moving beyond traditional political and statecentric narratives, this study proposes a robust theoretical and methodological framework to investigate the localized realities of both the organized “underworld” and everyday criminality. Central to this agenda is a four-factor localization model that systematically analyzes the crime scene, the residence and origin of offenders, and the spatial attachments of victims. By integrating quantitative official records with qualitative egodocuments and media representations, the proposed framework captures the lived experience of urban space. Furthermore, it highlights how macro-historical crises fundamentally reshaped the geography of metropolitan crime.

Introducción: Este artículo analiza la profesionalización del escritor en Argentina durante la década de 1920 a partir del caso de Caras y Caretas, una revista ilustrada clave en la configuración del periodismo cultural. Metodología: Se emplea un enfoque cualitativo basado en revisión teórica, análisis documental y estudio de prácticas editoriales, integrando perspectivas de la sociología del libro y del campo literario. Resultados: Los hallazgos muestran que el desarrollo tecnológico de la imprenta, las políticas de alfabetización, la expansión del mercado editorial y la masificación de la prensa ilustrada generaron condiciones favorables para el ejercicio remunerado y autónomo del escritor. Asimismo, la participación activa del lector y la incorporación de imágenes y publicidad consolidaron nuevas formas de producción cultural que reforzaron el rol profesional del autor. Conclusiones: La profesionalización del escritor en Argentina fue un proceso articulado entre modernidad urbana, dinámicas del mercado cultural y transformación institucional del campo literario.

Resultado do trabalho de 19 estudantes do curso de Jornalismo da Universidade Federal do Rio Grande do Norte, no componente Jornalismo Literário, este livro digital é fruto de encontros entre gerações. Por meio da entrevista dialogal, os alunos coletaram relatos e registros fotográficos de profissionais que compartilharam suas visões sobre um campo que, embora muitas vezes visto como território adjacente ao jornalismo, possui dinâmicas próprias: a assessoria de imprensa. VELOSO, Maria do Socorro Furtado et al (orgs.). Jornalistas em assessorias de imprensa: experiências do RN. Natal, RN: Ed. dos Autores, 2026. ISBN 978-65-01-81191-8. (Coleção jornalismo potiguar). ISBN 978-65-01-81191-8

The Meiji Era (1868-1912) was a crucial period in Japan's modernization, marked by profound social and political transformations under Western influence. Japanese intellectuals played a key role in reconciling traditional values with modern Western ideas. Inspired by Western science, technology, and administrative systems, the Meiji government sought to reshape Japan into a global power. Intellectuals explored concepts such as freedom, democracy, and individualism, integrating them into Japanese society while maintaining cultural identity. This study examines the impact of Meiji intellectual movements on Japan's modernization. The central questions include: How did Japanese intellectuals interpret Western thought? What proposals did they offer for modernization? How did their views on "civilization" and "enlightenment" influence state policies? What tensions arose between traditional values and Western modernization ideas? Addressing these questions, this study explores the intellectual foundation of Japan's transformation into a modern nationstate. Additionally, using Gramsci's hegemony theory and ideology analysis, it investigates how the ruling class employed ideological tools to shape modernization. Findings reveal that Meiji intellectuals sought a balance between tradition and modernization. They aimed to preserve Japan's national identity while embracing scientific and technological advancements. This dual

This study conceptualizes contemporary Ukrainian feature cinema as a discursive space in which Crimean Tatar experience is gradually articulated as an active subject of historical representation rather than an object of external narration. Drawing on memory studies and postcolonial theory, the analysis reconstructs the evolution of representational models from 2003–2025 and formulates a framework for understanding how film participates in processes of symbolic decolonization.
Early representations rely on metaphorical inclusion, where the Crimean
Tatar world functions as a symbolic element within a shared territorial
mythology. This model is followed by partial personalization, which introduces everyday cultural textures but still presents them from an external perspective. A decisive shift occurs with the emergence of internally framed trauma narratives centered on the 1944 deportation. Here, cinema transforms communicative memory into cultural memory and establishes Crimean Tatars as agents of historical narration. Subsequent films move beyond victimhood toward the portrayal of ethical
agency, presenting Crimean Tatar characters as moral actors whose decisions affirm dignity under conditions of total violence. The motif of return further reconfigures Crimea as a symbolically significant homeland structured by intergenerational responsibility rather than mere geography. In the context of the 2014 occupation and the ongoing war, Crimean Tatar presence becomes embedded in a shared Ukrainian framework of resistance, redefining solidarity as a joint ethical and geopolitical stance.
The article argues that these shifts collectively signal a transition from
speaking about Crimean Tatars to speaking with them. However,
representation remains concentrated around major traumatic events-
deportation, repression, occupation—while everyday cultural continuity and
internal plurality are underrepresented. Expanding cinematic discourse
requires integrating multiple voices, normalizing cultural presence beyond
catastrophe, and recognizing Crimean Tatar history as constitutive of
Ukraine’s broader postcolonial condition. Through such strategies, cinema
becomes not merely a medium of remembrance but an active site of
decolonial knowledge production.

Following the German invasion of the Netherlands in May 1940, a Dutch government in exile was set up in London. One of the most important activities of these exiles was to make propaganda against the Nazi's and throughout the war they operated Radio Oranje (Radio Orange), a wireless station that broadcasted to the Netherlands using BBC-transmitters. Another part of the Dutch broadcasting outfit in England was a 'listening service' that made daily reports about Dutchlanguage radio broadcasts from Hilversum by the Nazi regime. This article draws from a complete, and previously unused, set of these monitoring reports to analyse the Dutch propaganda war in the ether. The source material reveals that notions of Dutch neutrality were central to the radio broadcasts at both sides of the North Sea. In addition, the reports show how the London broadcasters singled out and targeted specific Nazi propagandists whom they thought to be the most dangerous.

Serbest Cumhuriyet Fırkası, Cumhuriyet döneminde çok partili siyasal yaşama geçiş yönünde atılan önemli bir muhalefet girişimi niteliği taşımaktadır. 1925 yılında Terakkiperver Cumhuriyet Fırkasının kapatılmasının ardından yaşanan siyasal boşluk ve giderek artan toplumsal-ekonomik sorunlar, yeni bir muhalefet ihtiyacını gündeme getirmiştir. Bu çerçevede, Mustafa Kemal Atatürk'ün teşvikiyle Fethi Okyar liderliğinde kurulan Serbest Cumhuriyet Fırkası, literatürde çoğunlukla 'güdümlü muhalefet' olarak değerlendirilmekte ve çok partili siyasal yaşama geçiş sürecinde planlı bir adım olarak yorumlanmaktadır. Ancak parti, beklenen sınırlar içinde kalmayarak kısa sürede geniş halk kitlelerinden destek görmüş, özellikle Ege bölgesindeki mitinglerde yoğun ilgiyle karşılanmıştır. Bu ilginin yarattığı siyasi gerilimler, İzmir mitinginde yaşanan olaylarla zirveye ulaşmış ve nihayetinde 17 Kasım 1930'da partinin kendi kendini feshetmesiyle sonuçlanmıştır. Bu gelişme, çok partili siyasi düzenin erken dönem bir denemesi olarak tarihe geçmiş, fakat tek parti yönetiminin daha da pekişmesine neden olmuştur. Bu çalışma, Serbest Cumhuriyet Fırkası deneyimini hem Türk hem Fransız basını üzerinden karşılaştırmalı biçimde ele alarak, dönemin ulusal ve uluslararası algılarını analiz etmekte ve literatüre dış politika ve basın ilişkileri bağlamında özgün bir katkı sunmaktadır.

This article examines the problem of studying fiction as a space for constructing and representing political ideology in Russia. Using the example of analyzing cultural policy, it is proposed to identify state, state-religious, and private instruments for forming the ideological landscape. Also, as a result of analyzing the political institutions of Ivan IV's reign in the works of A.V. Ivanov, V.G. Sorokin, and P.S. Lungin, it is proposed to study these phenomena through the prism of a biographical approach, to identify correlations between political behavior, civic position, and the stages of socialization that the writer went through. As a result, on the one hand, contemporary literature is a reflection of the ideological landscape of modernity, a reception of socio-political crises, and an instrument for stigmatizing the political ideal. On the other hand, artistic creativity can be an element of commemorative practices aimed at forming the value basis of the image of power in Russia. Thus, we can talk about two vectors of constructing public consciousness: the first approach is associated with the epistemological perception of modernity through the prism of the cultural code and the “historical track” of society, and within the framework of the second, there is an opportunity to perceive collective consciousness as a platform for the implementation of any initiatives and ideas that may be diametrically different from the temporal integrity of history and the surrounding socio-political reality. As a result, it seems that the semantic basis of culture implies the design of political ideology and its co-dependency on artistic creativity: an individual perceives monetization as one of the important aspects of the success of a cultural artifact, which leads to the need to form a single temporal structure of consent around oneself, as well as to a subjective delimitation of the individual information space into true and false ideas.

Many of the assumptions surrounding "culture, connectedness, and social cohesion" must be held up to sharper scrutiny, including the nostalgia for a return to simpler times, when cultural consensus and social cohesion seemed easier to achieve. The challenge is not one of "repairing fractured cohesion" or "renewing civil society," but rather of envisioning a new civic realm where diversity is supported by more empirically grounded foundations for claims regarding the interconnections amongst these phenomena. Although we must acknowledge the enormous power of globalizing markets and communications systems, we also need to resist a simplistic equation of these factors with homogenizing cultural trends. Our current discourses related to culture, diversity, and social cohesion require a complete rethinking before we can proceed with policies to respond effectively.

Resumen: Los órganos de comunicación social jugaron un papel muy relevante durante el periodo revolucionario (1974)(1975) que siguió a la caída de la dictadura portuguesa, actuando no solo como vehículos de transmisión de información a los ciudadanos, sino también como actores participantes en el proceso político. En este artículo, analizamos la prensa portuguesa durante esos años determinantes, procurando destacar sus principales características y las transformaciones que sufrió. Se observa la aparición de un tipo de periodismo "revolucionario" o "militante", en una coyuntura caracterizada por grandes combates políticos, pues estaba en juego la definición del tipo de régimen que habría de implantarse en Portugal.

Resumo: Com o 25 de abril de 1974 a censura é finalmente abolida em Portugal, após mais de quatro décadas de ditadura. Mas durante o período revolucionário que se seguiu, repleto de confrontos entre forças políticomilitares que defendiam projetos distintos para o futuro do país, o setor dos media foi profundamente afetado. A liberdade de imprensa não foi um dado adquirido, mas sim uma conquista entre lutas intensas pelo controlo dos media, travadas pelas forças em presença, mas também pelos próprios profissionais de Informação. Neste artigo, analisa-se o caso concreto de um projeto de lei que pretendia precisamente limitar a ação de jornais e jornalistas (o «Projeto Jesuíno»), concluindo que a forte contestação de que foi alvo por parte de políticos, jornalistas e de outros trabalhadores da imprensa constituiu um fator determinante para o seu fracasso.

Neste artigo, fazemos uma incursão pela Imprensa durante o processo revolucionário português (1974)(1975), analisando em particular a realidade do diário de maior tiragem da época, o Diário de Notícias. Concluímos que este jornal, através do seu conteúdo e das polémicas em que se envolveu, contribuiu para acentuar a instabilidade vivida no país neste período.

This article examines the prevalence of aesthetics within the political and social reorganization of the late nineteenth century and its central role in shaping the concept of national literature in the Ottoman Empire and Japan. It contextualizes the emergence of literary modernity within the simultaneous rise of nationalism and radical modernization in two cultures that did not experience direct colonial rule—one in the West and the other in East Asia. Drawing primarily on existing research, it compares how intellectuals in these two contexts understood the relationship between aesthetics and cultural transformation. The article argues that literary aesthetics is not a dependent variable of political and economic processes, but possesses an autonomy that allowed writers of the reorganization period to explore and negotiate new possibilities within a not-yet-solidified national consciousness. It pays particular attention to the complexities surrounding the transition to nation- states in Japan and the Ottoman Empire and traces this process across three domains: the use of literature to articulate civic ideals under censorship; the contested institutionalization of literature as a national and disciplinary category grounded in classical traditions; and the rise of print culture and criticism, which enabled new forms of public engagement. The article thus offers a comparative overview of the aesthetic and literary scene, opening further avenues for comparison across other non-Western contexts not shaped by direct colonial intervention.

Il patrimonio materiale rappresenta uno spazio privilegiato di costruzione identitaria, in cui si intrecciano memoria, politica e cultura. Questo dossier analizza criticamente le narrazioni legate alla scienza e alla tecnologia nei musei, archivi e fondazioni italiane, evidenziando come l'esposizione dell'"eccellenza" industriale e del "genio" scientifico contribuisca alla formazione di una memoria collettiva celebrativa e selettiva, che rifiuta di considerare gli aspetti più problematici della stessa. Si intende infatti mostrare come la monumentalizzazione di figure simboliche legate alla scienza e alla tecnica "italiana", delle loro "reliquie", e la costruzione di una narrazione di "cultura d'impresa" siano strumenti di legittimazione ideologica intimamente collegati. Tali narrazioni, amplificate da fondazioni e mostre, contribuiscono alla costruzione di un'identità italiana fondata su primati reali o immaginati, esaltando la creatività individuale e occultando le contraddizioni legate al lavoro, all'ambiente e alle relazioni di potere. Il contributo si inserisce nel più ampio dibattito sull'heritage come pratica politica e simbolica, mostrando come l'estetizzazione museale trasformi oggetti e biografie in dispositivi retorici potenti. Material heritage constitutes a privileged site for the construction of identity, where memory, politics, and culture intersect. This dossier offers a critical analysis of the narratives surrounding science and technology in Italian museums, archives, and foundations, highlighting how the exhibition of industrial "excellence" and scientific "genius" contributes to the formation of a selective and celebratory collective memory, refusing to acknowledge its more problematic aspects. It seeks to demonstrate how "corporate culture" and the monumentalization of symbolic figures function as instruments of ideological legitimation and building of identities. These narratives, amplified by foundations and exhibitions, contribute to the construction of an Italian character based on real or imagined achievements, celebrating individual creativity while obscuring contradictions related to labor, the environment, and power relations. This contribution is situated within broader debates on heritage as a political and symbolic practice, showing how museum aesthetics transform objects and biographies into powerful rhetorical devices.

Bu çalışmada kuruluşların halkla ilişkiler birimleri tarafından basına servis edilen basın bültenlerinin ulusal gazetelerde ne şekilde yer aldığı sorusundan hareket edilmektedir. Amaç, halkla ilişkiler ve gazetecilik sektörlerinin ilişkisi bağlamında, iki sektör arasında her iki tarafın yararına dayanan bir işbirliği olduğu ve halkla ilişkiler sektörünün gazeteciler için önemli bir haber kaynağı olarak görülmesi gerektiğini ortaya koymaktır. Halkla ilişkiler uygulayıcısı temsil ettiği kişi ya da kuruluşun geniş hedef kitlelerle iletişimini gerçekleştirmek için medyaya ihtiyaç duymaktadır. Gazeteci ise dönüşen medya sahipliği ve istihdam kısıtlamaları, hızla değişen gündem, yenilik ihtiyacı ve rekabet zorunluluğu sonucu, haber yaratırken halkla ilişkiler uygulayıcısının kendisine sunduğu haber konularını, görsel ve yardımcı materyalleri değerlendirme ihtiyacı hissetmektedir. Bu görüşlerden hareketle belli kriterlere göre seçilmiş Türkiye'nin önde gelen beş kuruluşunun 2013 yılında yayınladığı basın bültenleri ve ulusal medyada yer alan haberleri içerik analizi ile karşılaştırılarak basın bültenlerinin ulusal basında haber olarak ne şekilde kullanıldığı ortaya konulmaya çalışılacaktır.

Note explicative : Afin d'en faciliter la lecture et d'orienter d'abord vers des ressources rapides à lire ou à écouter, cette bibliographie est classée en privilégiant d'abord les références faciles d'accès, avant de détailler les ouvrages par thème et par ordre chronologique. Chaque référence est commentée. Cette bibliographie n'est toutefois pas exhaustive. Ont été notamment laissés de côté des articles scientifiques traitant de thèmes très précis.

Marion Kaufer referiert in ihrer Master-Thesis die Diskussion über Erwerbungsprofile, ihren Inhalt und ihren Nutzen, die in den letzten zwanzig Jahren stattgefunden hat. Zu Beginn wird dargestellt, dass Erwerbungsprofile Regeln für den Bestandaufbau beschreiben und ...

This article examines how Filipino advocates of economic nationalism, operating through the National Economic Protectionism Association (NEPA), used emotional appeals to shape nationalist identity and consumer citizenship during the Philippine Commonwealth. Earlier works document NEPA's marketing of Philippine goods and advocacy for economic self-reliance but have not analyzed fully the affective registers in its rhetoric. In particular, little is known about how NEPA mobilized love, pride, shame, and guilt to forge a moral Filipino subject. To address this gap, I analyze NEPA bulletins, poems, and radio broadcasts using Sara Ahmed's theory of affect and Michel Foucault's insights on subjectification. The findings suggest that NEPA framed patronage of Philippine goods as a sacred duty, promoting love and respect for the country and kin and fore grounding guilt and responsibility in its advocacy against Filipinos' supposed lack of discipline. It deployed emotions as techniques of government to advance self-regulation and shaped Filipino identity through regimes of feeling that resonate with contemporary debates on patriotism and consumer citizenship.

Ecaterina Oproiu was the most sparkling and powerful film journalist of Romania in the communist era, known and admired as head of the monthly magazine Cinema, but also for her reports from international film festivals or for her charming presentations of old movies at the National Television. She was vice-president of FIPRESCI (International Federation of Film Critics) for more than twenty years. She was also a successful playwright. Even if after 1990 she survived as a public figure only as a member of the National Audiovisual Council (1994-2004) she published between 2013 and 2017 one drama collection, two novels and three volumes of memoirs. The paper, a fragment of a wider research dedicated to her work and life in their political frame, tries to revisit her (nearly forgotten) journalistic-feminist project unfolded between 1972 and 1975.

La pratique sportive gabonaise connaît depuis un certain temps une vulgarisation et une inter-prétation des pratiques propres à sa mosaïque culturelle. L’interdépendance entre le milieu et les pratiques sportives met à jour un phénomène qui gangrène le milieu sportif gabonais, no-tamment le sport féminin. Ce phénomène est celui de la masculinité féminine. Plus qu’une affaire d’ethnie ou de groupe, le sport au Gabon est plus que jamais une affaire de genre. Au Gabon, la pratique sportive est une affirmation du genre masculin, faisant naître une culture de la masculinité féminine dans la transformation des pratiques et de la conception du sport gabonais. Le genre féminin est de facto rejeté des plateaux sportifs pour incapacité physique et morphologique d’atteindre les objectifs assignés. Ces préjugés portent en eux le poids d’une ancestralité culturelle entretenue et défendue par certains hauts cadres des instances décisionnelles. Les femmes sportives se voient donc obligées de se transformer et de cultiver la masculinité sous toutes ses formes pour prétendre être acceptées dans le monde sportif gabonais. La pratique sportive gabonaise connaît depuis un certain temps une vulgarisation et une interprétation des pratiques propres à sa mosaïque culturelle. L’interdépendance entre le milieu et les pratiques sportives met à jour un phénomène qui gangrène le milieu sportif gabonais, notamment le sport féminin. Ce phénomène est celui de la masculinité féminine. Plus qu’une affaire d’ethnie ou de groupe, le sport au Gabon est plus que jamais une affaire de genre. Au Gabon, la pratique sportive est une affirmation du genre masculin, faisant naître une culture de la masculinité féminine dans la transformation des pratiques et de la conception du sport gabonais. Le genre féminin est de facto rejeté des plateaux sportifs pour incapacité physique et morphologique d’atteindre les objectifs assignés. Ces préjugés portent en eux le poids d’une ancestralité culturelle entretenue et défendue par certains hauts cadres des instances décisionnelles. Les femmes sportives se voient donc obligées de se transformer et de
cultiver la masculinité sous toutes ses formes pour prétendre être acceptées dans le monde sportif gabonais.
Mot clés : genre, sport, corps, féminité, socialisation

When considering whether reality is fundamentally analog or digital, I can think of convincing arguments for each case, but feel that both answers are limiting, and that the fundamental nature of reality is far more interesting. I am firmly convinced reality is neither exclusively discrete nor solely continuous -as it must display both faces for either aspect to be manifested. The nature of reality is both analog and digital, rather than exclusively one or the other. Observable phenomena satisfy the constraints of both continuous and discrete natures at once. The attributes we observe appear discrete or continuous largely as a matter of choice. What information we choose to observe or preserve, and how we take in or process information, will affect what we see. Often the choice is automatic, as a single sub-atomic particle or atom acting as a localized observer can induce the appearance of classical variables and discrete entities, even though the global wavefunction remains coherent during local interactions. Nature is fundamentally unified however, regardless of all appearances, though any attempt to probe it finds discrete quanta of energy, information, and form. This paper proposes that reality is both analog and digital because nature finds the most effective or efficient means available to encode energy and information as observable form.