Mestrado em Arte e Cultura Visual (FAV)

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http://200.137.215.59/tede/handle/tde/190

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Abordagens das práticas comunitárias em espaços públicos por meio da poesia têxtil
(Universidade Federal de Goiás, 2019-08-18) Castañeda Demesa, Itandehuy; Martins, Alice Fátima; http://lattes.cnpq.br/2768377569632609; Martins, Alice Fátima; Santos, Noeli Batista dos; Guimarães, Leda Maria de Barros
This research addresses some concepts of textile art as a means of manifesting the contemporary collective creative processes of women, youth and the elderly in public spaces, through the events of Mulherio das Letras - Goiás Edition, (2017) and Mulherio das Letras, (2017 ), in João Pessoa, in the state of Paraíba, Brazil. In each of the events, textile poetry was developed through the use of words and textile embroidery, performed mainly by women of different ages. I also reflect on art education and the visual arts, and on some approaches to visual culture in two workshops held in the year (2017), at the Federal Institute of Goiás (IFG) and the Center for Teaching and Applied Research in Education (CEPAE). In these workshops, I developed a creative process with the students, through textile poetry and approaching the production of contemporary local poets through the manual art of embroidery and fabric. In the course of this research, the influence of Visual Culture theories and fieldwork experiences in textile poetry workshops made me think of a personal artistic production that proposes a dialogue with some of the theories addressed in this research and experiences as a researcher and artist. . The research went through several spaces of the cultural and educational artistic circuit of the city of Goiânia and João Pessoa. And this led me to reflect on three significant points for the research 1) The relationship of open public spaces with visual culture, visual arts, textile poetry workshops and violence against women. 2) How do the artistic creative processes generated from public spaces and the learning process and education happen? 3) How research dialogues with personal artistic creative processes and school space. This research has created a plot between theories and experiences that needs to be unraveled in order to understand a little more about the web of connections between visual arts, visual culture and textile art.
Acqua lumens: luz, movimento, arte e tecnologia
(Universidade Federal de Goiás, 2014-06-27) Oliveira, Alana Borges Neves; Franco, Edgar Silveira; http://lattes.cnpq.br/8415486629956081; Franco, Edgar Silveira; Hidelbrand, Hermes Renato; Berardo, Rosa Maria; Chaud, Eliane Maria; Nunes, Fábio Oliveira
We seek to investigate in this research elements and concepts that are present and or in dialogue with our experimental artistic production in Art and Technology. To lift and understand the contexts of creation involving movement and color-light mostly along the history of art and also situate our production in the contemporary art scene. Starting from the language of photography, passing through Kinetic Art and reaching the interactive installations. In this course we rely on the study of the works of many artists and important concepts such as interactivity. Having grounded and assembled this panorama present our creative process. Addressing the choices and changes that occurred during this process we had produced two prototypes, the latter being the final experimental work, titled Acqua lumens. This artwork features moving forms that arise through interaction with the public and are lit by light-color photographs produced between 2007 and 2009. Present and past, individual and collective, chance and programming merge into a single result .
Álbum de Montes Claros (1927). Estudo crítico a partir das fotografias de Serafim Facella (1927-1939)
(Universidade Federal de Goiás, 2014-08-25) Nassau, Juçara de Souza; Monteiro, Rosana Horio; http://lattes.cnpq.br/9262982142956906; Monteiro, Rosana Horio; Monteiro, Charles; Oliveira, Adriana Mara Vaz de; De Jesus, Samuel José Gilbert
This research investigates the production of cities' photographic albums, made in the late Nineteenth century and the first decades of the Twentieth century in Brazil. We pursue to reflect about the use of photography as propaganda of urban transformations, as social and visual representation through the city albums and the resulting documentation of the city's memory. We study particularly the Album of Montes Claros, city in northern Minas Gerais, produced in 1927, and, through its disassembly, we developed a new version with the inclusion of photographs taken by Serafim Facella (1893-1980) between 1927 and 1939. Therefore, we present a new visual narrative about the city of Montes Claros.
Análise e aplicação do quadrinho autoral de horror e terror: uma construção de estilo híbrido a partir de influências de desenhos de quadrinhos espanhóis da década de 1970 e narrativa Gekigá
(Universidade Federal de Goiás, 2020-12-01) Dutra, Cláudio Batista; Andraus, Gazy; Franco, Edgar Silveira; http://lattes.cnpq.br/8415486629956081; Franco, Edgar Silveira; Oliveira, Ivan Carlo Andrade de; Berardo, Rosa Maria
The current dissertation carries out in discussion authorial comics, in which highlights thematics such as the horror, as well as the narrative originated from the Gekiga style. Concerning the horror, it implements a reflection based on the authors of these genres and explores the influence of Spanish comics illustrators such as Esteban Maroto, José Ortiz, José Gonzalez, Sanjulián, Luís García, and others published in Brazilian magazines, as well as it contextualizes a few contemporaneous Brazilian authors influenced by them such as Mozart Couto, Mano, Rodval Matias, Watson Portela, Carlos Chagas, Ricardo Leite, among others. These last names were relevant on the creating process of national Comic Books on the publishers D-Arte and others. Furthermore, the research accom- plishes the influence throughout the visual narrative aesthetic of Gekiga comics – an au- thorial branch of Manga. These theoretical reflections result on the artistic practice built on the creating of authorial comic books that mixes realistic styles throughout the Spanish aesthetic of horror with the photographic language of the Gekiga narrative, promoting narrative exercises that blend these influences. The result proposed, as itself, consists of an album in horror comic books carrying out three short comics to this research work.
Análise e desenvolvimento de uma narrativa fílmica a partir do discurso fotográfico: Chris Marker como referencial
(Universidade Federal de Goiás, 2012-06-13) Carvalho, Luciana Miranda de; Berardo, Rosa Maria; http://lattes.cnpq.br/5933853765756576; Berardo, Rosa Maria; Guimarães, Leda; Mendonça, Maria Luiza Martins de; Monteiro, Rosana Horio; Gomes, Suely Henrique de Aquino
The main objective of this research is to trace a line of reasoning since the time of the first machines to reproduce the illusion of movement, through the film until the 1960s where did my object of study: the French short film, fiction, La Jetée. From then on it was a brief technical analysis on the a esthetic film that Chris Marker (the author of the film) used in his narrative. Not leaving out a list of photofilmes produced in Brazil for a better contextualization of this type of animation pictures today. Finally, we elaborate on the practice, a movie production, using the same format as that quoted above short film: photographs. This visual narrative, the genre of fiction, has a structure in its cinematic language.
Animação e diversidade: gênero trans e arte Sudaca – aquarelando com pigmentos naturais para além do azul e do rosa
(Universidade Federal de Goiás, 2020-03-09) Santana, Janayna Medeiros Pinto; Berardo, Rosa Maria; http://lattes.cnpq.br/5933853765756576; Berardo , Rosa Maria; Rodrigues, Manoela dos Anjos Afonso; Oliveira, Flávio Gomes de
You, reader or reader, consider this text as an essay in which I bring part of my concerns and experiments from research in art, which has as a differential the focus on making conceptual images that illustrate a script for animation, which were watercolored with natural pigments. The proposal consists of developing, under the theme LGBTQI +, an animation script, until the production of watercolored manual drawings with natural pigments that represent it visually. It is projected through the theoretical-methodological construction of weaving, to take place through such a method in written and audiovisual language, to the elaboration of a final product, being a documentary about the process of creating these images that illustrate my script in a version for a storyboard. The proposal is structured around the protagonism of history by a trans character (woman / girl), in the name of a Sudanese art, which seeks to break with the ideological paradigms of a hegemonic western culture, which presents the differences in stigmatized, violated and silenced. Dialoging with the place, the Cerrado, and the re-existence of this biome in the face of an agricultural culture that devastates it out of ambition, in the name of food and the maintenance of society. I sought to explore its natural diversity in terms of its color palette to be printed in watercolors, where I come to call for a policy of identities and place. In a “tangle” of relevant discussions, the fact of the emergency in dealing with current and controversial issues, such as the re-existence of trans people and the confrontation of violence to the LGBTQI + group, stands out and together problematize the re-existence of the Cerrado biome, highlighting it o in its plurality.
Anuviô
(Universidade Federal de Goiás, 2023-07-20) Oliveira, Julliana Rodrigues de; Rodrigues, Manoela dos Anjos Afonso; http://lattes.cnpq.br/7111235725963338; Rodrigues, Manoela dos Anjos Afonso; Nascimento, Ana Reis; Perotto, Lilian Ucker
This research is constituted as a walk to desanuviar, a process of unroll ideas, clearing my mind, finding the threads of the skein. It was something I needed to do from the moment I received the news that catalysed this whole process of artistic investigation from its inception: that my maternal grandmother, Dona Leonor, had passed away, in March 2020, the beginning of the COVID-19 pandemic. The main aim of the research is to demonstrate how autobiographical elements, material and immaterial, catalyse artistic poetics and creation processes at the confluence of art and visual culture in a critical and political way. Therefore, this is an autobiographical research in art,seeks to investigate an artistic practice that culminates from the interweaving of artistic research with life stories from the experience with mourning. I autobiograph in life and performance and generate images and visualities to fight against the colonization of my memories, through an autobiographical making that is a political exercise of voice reclamation in an era of deletions. I must emphasise that this writing is not an autobiography in the strict sense, that is, an autobiography as a literary genre. This writing gives body and form to a master's dissertation that deals with reflexivity in order to identify the autobiographical elements that are being incorporated into an artistic production that points to strategies that were already being built together with Coletivo Bunker, a performance collective in which I have participated for years. Aspects such as the relationship with the body and the investigation of affections are being articulated through an art and life production that is expressed through walking and threads.
Arquiteturas da infância: uma construção de memórias
(Universidade Federal de Goiás, 2024-05-27) Souza, Kassius Brunno; Silva, Odinaldo da Costa; http://lattes.cnpq.br/8837262003405158; Rodrigues, Manoela dos Anjos Afonso; http://lattes.cnpq.br/7111235725963338; Rodrigues, Manoela dos Anjos Afonso; Silva, Odinaldo da Costa; Sacco, Helene Gomes; Oliveira, Wolney Fernandes de
Childhood architectures is research that investigates the intersection between childhood and architecture through the body-memory-space relationships and the (re)creation of what I call poeticspatial structures: the house, the church, the school and the street, through artistic practice in different media and languages. The methodology is composed of poetic writing and studio work, driven by the Autobiographical Research in Art approach (Rodrigues, 2021). In this process, I also seek to create dialogues between Bachelard’s (2008) poetics of space and Arfuch’s (2010) biographical space to understand the body of work as a means of establishing a poetics of biographical space. This space is originated, in this research, by fables and daydreams driven by a practice of the self that calls upon writing, childhood, visual arts and architecture to, together, enable the construction of memories.
Arte contemporânea na formação de professores [manuscrito]: um estudo com alunos da licenciatura em artes visuais da UFG
(Universidade Federal de Goiás, 2009-04-28) VALENÇA, Kelly Bianca Clifford; SILVA FILHO, Raimundo Martins da; http://lattes.cnpq.br/1270126774554014
The way artifacts influence and are influenced by culture is a recurrent topic in the contemporary scene. Images, toys and art works integrate such ideological framework which impels behavior and contributes for an alienated consumption. To educate in a context in which images seduce and attract for consumption invading our daily life is one of the challenges of art teaching. Contemporary art has a potential to give voice to students subjectivity and to promote dialogical, critical and inclusive learning. This work investigates the way how six students, future teachers three women and three men attending the Visual Arts Teaching Program at the Visual Arts College of the Federal University of Goiás, understand and interrelate with contemporary art images as their teaching object. Inspired on my observations concerning the resistance to the use of these images in classrooms, this research constitutes a sample of collected data that builds a net of point of views that sometimes overcross, sometimes diverge, but, especially, reflect pedagogical, social and cultural issues naturalized in the understandings and conceptions of those future teachers. Developed through individual interviews and focal groups, this investigation is oriented by a qualitative methodological perspective which considers images, talks, silences, gestures and reactions as part of a critical and constructive analysis of narratives that dialogue with visual culture
Arte de terreiro matriarcal: trabalho de mulheres da Casa de Caridade Luz do Alvorecer
(Universidade Federal de Goiás, 2023-07-05) Santos, Fabiana Francisca; Franco, Edgar Silveira; http://lattes.cnpq.br/8415486629956081; Rodrigues, Manoela dos Anjos Afonso; http://lattes.cnpq.br/7111235725963338; Rodrigues, Manoela dos Anjos Afonso; Albuquerque, Maria Betânia Barbosa; Anaquiri, Mirna kambeba Omágua-Yetê
In this art research I propose an investigation of the artistic poetics and creation processes of a group of daimista and umbandista women members of the Casa de Caridade Luz do Alvorecer (CCLA), of which I am also a member. The research is based on experiences and methodologies of terreiro education and decolonial approaches, to reflect on the collective and creative practices that have been developed in CCLA. I also propose to recognize these practices as tools for the emancipation of these women while they produce and reproduce ancestral visualities. To reflect on the phenomenon that occurs when the visualities of the terreiro enter into a colonial logic through the social structure. The images and their reverberations produced by the terreiro become a counter visuality, looking at the colonial visuality as a reference. The study of tools of freedom, which in a spiritual school, as producers of knowledge, rituals and thoughts, generate awareness of the prevailing hegemonic visualities, valuing the images and narratives of native peoples, through their cultural references. The collective production of knowledge produced in the CCLA are powerful tools against the epistemicide and historicide processes.
Arte e cotidiano: experiência homossexual, teoria queer e educação
(Universidade Federal de Goiás, 2007-04-24) MARQUES FILHO, Adair; SILVA FILHO, Raimundo Martins da; http://lattes.cnpq.br/1270126774554014
Inspired by post-modern uneasiness, contemporary culture opens possibilities for individual and collective manifestations that look for demands restrained by the ideals of modernity. Into this scene I bring authors and ideas as a way to create and occupy spaces in a context of control and repression in relation to queer individuals or, more specifically, queer atitudes. Critical, transgressive positionings formulated and experienced by theoreticians and activists in the areas of sexuality, human rights, arts and social and cultural movements raise questions that are yet, taboos in the contemporary scene and which are intensified in the field of art/education. This investigation privileges aspects of the life history of two artists from Goiânia (Goiás Brazil). These histories are examined from a perspective that move across visual culture, queer theory and art/education, discussing topics such as the appropriation of the masculine body in contemporary art; body as a territory of ideological and political struggles; art/education as a form of transformation and intervention in the ways of seeing, feeling and acting; the process of artistic formation and its importance in cultural and visual experience, and, finally, queer theory, supported by feminist and post-estruturalist thinking, as a way to contravene conventions and norms.
Arte/vida/trabalho e experiência docente: Produção de sentidos de hiphoppers da Vila Pedroso
(Universidade Federal de Goiás, 2010-03-22) PEREIRA, Vânia Olária; GUIMARÃES, Leda Maria de Barros; http://lattes.cnpq.br/1491866271915819
This research falls within the area of Education and Visuality of the Post-Graduate Visual Culture and discusses the meanings produced by social actors participating in the hip hop movement. The instrumental framework of support for the interpretations is composed of theoretical notions and postmodern research which is inserted in the Field of Cultural Studies. The work field rescues experiments that are carried out, in addition to those undertaken teaching experience before the masters, presented in the classroom reports, interviews and records imagistic. I adopt methodological quality/ reflexive principals for the research. Starting from a baseline of intent and ignorance, I expose the motivation and the origins of this study: I reflect on my teacher training and the Hip Hop Project, held at the Municipal School Madre Francisca in 2005. I follow the trajectory of the members of the Madre Hip Hop group, already outside the school, seeking to contextualize the neighborhood where they live and where the school is located - Village Pedroso, in the eastern region of Goiania. I seek an approach with the culture of the research subjects, discussing its conditions and social situations, political and aesthetic, through testing interpretive summaries. I attempt to identify how the analysts classify and understand their artistic productions, in contrast to some general arguments of the critique of popular art.
Ateliê de figurinhas com arte de resistência
(Universidade Federal de Goiás, 2023-07-21) Arantes, Daryellen Ramos; Martins, Alice Fátima; http://lattes.cnpq.br/2768377569632609; Martins, Alice Fátima; Abreu, Carla Luzia de; Ospina Álvarez, Juan Sebastián
This research was articulated around the following problem: how do people who make images of resistance see, can they see themselves and make images of resistance be seen? We bring conceptual issues arising from the practices of a studio designed, amid the challenging context of the COVID-19 pandemic, from the perspective of Visual Culture studies, to discuss actions used in the creation and development of a creative environment for editing stickers with frames of films screened at “They make cinema: a showcase for films directed by women”. The research collaborators were invited through posters, posted on informative bulletin boards of the Uniforte network cooperatives, announcing remote meetings to exercise ways of appreciating, capturing and editing stickers. Using a/r/tography as a methodological approach, we dialogue with the demand in order to understand fundamentals and mediation strategies aimed at artistic proposals in exercises related to the construction of the gaze. The research resulted in the production of a collection of film links for the sticker studio. The study also established connections with image makers of resistance from the Uniforte cooperatives. The authors used in the bibliography offer a theoretical framework to deal with the themes of resistance, poetics of solidarity, education for visual culture, visualities, decolonial pedagogies, art research and other cross cutting themes.
O ativismo ambiental nas ações e instalações de Siron Franci, 1986-2008: A arte como estratégia de divulgação
(Universidade Federal de Goiás, 2009-06-26) BERTAZZO, Lucia; BORGES, Maria Elizia; http://lattes.cnpq.br/0672444382021221
Siron Franco is an artist who has, in a parallel with his pictorial work, always produced pieces that denounced social grievances and pieces of political nature which, placed in public settings, aimed at inducing the media to broadcast protests. The artist has for very long championed the environmental cause, what has led him to produce a series of pieces on the theme: paintings, demonstrations, stickers, installations, video-sculptures. This dissertation sets out to review the historical moment in which these pieces come out and presents them as postmodern art work produced in line with environmental activism. This research intends to analyze the insertion of artistic protests which have the environment as a cause, into the press and in contemporary art production
Atrapalhando as significâncias: o personal styling na contemporaneidade
(Universidade Federal de Goiás, 2013-05-09) Chaves, Bárbara Lyra; Preciosa, Rosane; Mendonça, Míriam da Costa Manso Moreira de; http://lattes.cnpq.br/8573276727905431; Martins, Raimundo; Gomes, Suzana Helena de Avelar
The purpose of this dissertation heads for the observation of the mechanisms that surrounds the work of personal styling in the contemporary setting. The research was articulated from the perception that there is a mismatch between the multiplicity of proposals that the current fashion displays and the qualifying standards stipulated by personal styling. Given this context, the dissertation presents the cases of breaks of rules on dressing as a possibility to expand the repertoire for the personal styling. Taking the bricolage as a methodological option, we designed a set of theoretical tools capable of dialoguing with the data collected in media reports, blog posts, individual interviews and TV interviews. Rather than gathering information from various sources, this research promotes an interaction between my positions on the directions of personal styling, the clues that reveal breaking rules on dressing and the point of view of authors from the fields of fashion, philosophy, cultural studies and visual culture, building a reflection on the theme. Given this panorama, I try to discuss how the stylists can position themselves nowadays, how they can expand their field of action and also how they can act taking into consideration their customers’ lifestyle.
Atravessando territórios: Fazendo-se docente-artista no processo de formação
(Universidade Federal de Goiás, 2013-04-29) Forte, Marcelo; Guimarães, Leda Maria de Barros; http://lattes.cnpq.br/1491866271915819; Guimarães, Leda Maria de Barros; Pereira, Marcos Villela; Martins, Raimundo; Santana, Arão Nogueira Paranaguá de; Martins, Alice Fátima
This work discusses the possibilities of developing an artistic teaching by intercrossing art, subjectivity, poetry and teaching during the student's initial formation in Visual Arts. The research opened spaces to think through this formation that crosses and it's crossed by the student’s stories and experiences in Visual Arts Class, and outside of it as well. For its development, participated eight collaborators of Visual Arts Class from Federal University of Goiás, two being professors from supervised internship and six graduates during their internship period, in 2011. Discussions and points relative to the course, the instructor’s initial formation, supervised internship, studio at university and points about school itself were all present during this process. The investigation and reflection used interviews, research notebooks and maps referring to the interviews content. From the placing and reverberation that collaborators words provided, it became clear that this formation space it’s done not only by the menus and curriculum structure that the course provides, but by the different interests of each student in searching for determined situations both present and absent in their formation process.
OS AZULEJOS DE PORTINARI COMO ELEMENTOS VISUAIS DA ARQUITETURA MODERNISTA BRASILEIRA
(Universidade Federal de Goiás, 2006-12-11) PINTO JÚNIOR, Rafael Alves; COSTA, Luís Edegar de Oliveira; http://lattes.cnpq.br/4800838962828598
Turning the glance back to the Brazilian Architecture production carried out between the 1930s- 40s means to have the opportunity of seeing a kind of atemporal conception, which once re-visited, may allow the reflection and production of a self Architecture, strong enough to absorb the external influences without being dominated by them. In this piece of work, the object of study is the resource of Azulejaria , used as a resource for visual composition of environments, legitimating the discourse of that Architecture. It is not expected to analyze the whole production of 1930s-40s above mentioned, but finding throughout the most important buildings where Azulejaria was used, the aesthetic values proposed by that kind of Architecture. For that, it is made use of the convergences among Portinari, Costa and Niemeyer work. Starting from the understanding of the ambience concept concerned about Brazilian Modernism, methodologically, it is tried to relate the concepts, so that it becomes possible to comprehend the relation among the spaciousness, pictorial or architectonical. Azulejaria, as a resource of visual legit, allows understanding not only the spatiality seen from the light of an interdisciplinary approach, but also clarify the consequences of this procedure in the subsequent Architecture, according to the framework which it was delimited. The understanding of Azulejaria as a symbolical element that refers to the National Property work, also allows, according to my way of seeing, a fundamental information as reference to the psychological and artistic aspects involved in the Azulejaria Architecture composition process. As being considered a legit resource of Brazilian Architecture discourse, Azulejaria has had great consequences in the development of Architecture after Pampulha inauguration at the end of the 1940s, and it has attracted a glance towards Brazil in a historical circumstance, which it was, actually, a concomitant necessity to the peripheric countries of finding a cultural identity at the first half of the XXth century
Batalha das máscaras: animação experimental digital baseada nas cavalhadas de Pirenopólis
(Universidade Federal de Goiás, 2015-04-15) Teixeira, Iuri Araújo Cardoso; Berardo, Rosa Maria; http://lattes.cnpq.br/5933853765756576; Berardo, Rosa Maria; Franco, Edgar Silveira; Mendonça, Maria Luiza Martins de; Guimarães, Leda Maria de Barros; Christino, Daniel
The main objective of this work was develop an experimental 2D animation which used digital resources to simulate traditional artistic techniques of drawing and painting. For this, I made a historical survey of experimental animation around the world, until the emergence of the first Brazilian productions. For references, animation analysis of five experimental artists and animators from countries like Brazil, Canada, United States, Russia and Japan. Based on these analyzes, there was the application of its artistic and cinematographic methods, exploring simulations of materials like oil pastel, colored pencil, acrylic paint and moving cameras via software. The narrative theme selected for the development of an animated story was the festival of Cavalhadas in Pirenópolis, representing its medieval origin in Europe, until his arrives in Brazil and the state of Goiás, showing its relevance as a regional cultural event.
Bioarte Brasileira e Vida Artificial: Investigação Teórica e Prática Artística
(Universidade Federal de Goiás, 2011-05-25) NOMURA, Luciana Hidemi Santana; FRANCO, Edgar Silveira; http://lattes.cnpq.br/8415486629956081
This paper focuses on Brazilian production of one the currents of technology and arte, called bioart, with emphasis on one of its aspects called "artificial life art" - inspired by the dynamic processes of biological systems - which promote the emergency of digital artificial systems, dynamic and self-sustaining, named "artificial life". This reserach presentes featured works of Brazilian production of this emerging artistic category and analyses the poetic propositions of the artistis with emphasis on verifying the forms of interactivity of these works. Simultaneously with the exploraty investigation of the art in Brazil, it has been developed a project on "bioart" in which its goal is to explore some interactive possibilities of a system based on evolutionary algorithm and artificial life.
Birdman, educação da cultura visual e diferença cultural
(Universidade Federal de Goiás, 2011-04-28) SÉRVIO, Pablo Petit Passos; SILVA FILHO, Raimundo Martins da; http://lattes.cnpq.br/1270126774554014
This study explores and discusses how students from the teacher training program of the Visual Arts School of the Federal University of Goiás relate to the idea of cultural difference taking as reference the video clip Birdman, from Coca-cola. The study articulates three focus: 1) what students understand as cultural difference the phenomenon and the social actors with whom they identify this theme; 2) what values cultural difference has for their lives and for society; 3) what motivates them to discuss - or not - questions about cultural difference based on publicity images and how they would do it. The research promotes a discussion crossing the student s point of views, my own positions and the points of view of various authors (from cultural studies and visual culture education) building an analyses about repertoires, interests, conflicts and ambiguities that orientate such positionings. These focus were achieved through the choice of a qualitative approach guided by the expectation to work deeply the subjects perceptions and interpretations. The methodological procedures chosen to gather the data were individual and focal open interviews. Six students of the program participated on the investigation: two attending the fourth semester of the program, two attending the sixth and two attending the eighth. Using an advertising VT to discuss and analyze cultural difference, this study pretends to contribute for a critical visual culture education.

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