Social network: https://www.researchgate.net/profile/Benjamim_Picado
Lattes CV: http://lattes.cnpq.br/9591194886381671
A PhD in Communication and Semiotics (PUC-SP), he is the coordinator of the Photography, Visual, and Graphic Narratives Analysis Research Group (GRAFO/NAVI), the Laboratory of Studies on Media Intrigues (Media_Müthos), and the Integrated Research Network on Theories and Analysis of Photograph (Rede_GRAFO). Author of the book O Olho Suspenso do Novecento: plasticidade e discursividade visual no fotojornalismo moderno (The hanging eye of the 1900’s: plasticity and visual discursivity in modern photojournalism. Rio: Azougue, 2014), he conducts studies on significant media materials upon semiotic, aesthetic, poetic, and narratological models of visual culture and audiovisual analysis, employing the heuristics approach of the « intrigue style », which marks the products of this universe (photojournalism, comics, graphic narratives and television serial fiction).
Photography analysis and theories; Graphic narratives studies; Visual narratives theories; Aesthetic approaches to communication; Seriality poetics in Media Culture.
Laugh Mutations: the dimensions of narrative and plasticity of visual humour incongruence (the case of Laerte Coutinho)
Description: During the next three years (2019/2022), we intend to continue examining the phenomenon of new inflections stemming from given aspects of plastic and textual organisation of humour production within the specific context of the dispositive of daily newspaper comic strips. On the previous triennial, we have mapped a more encompassing spectrum of selected cases as an empirical preferential universe. This corpus includes Laerte Coutinho, Angeli, and the brothers Fábio Moon and Gabriel Bá’s comic strips and editorial cartoons for Folha de São Paulo, and Chris Ware’s project for the weekly graphic novel « The Last Saturday », published at The Guardian’s weekend editions, where we have identified some variants of this « laugh mutation », within the context of comic strips or similar formats. The aspects through which this different inflection of comical genres find their expression in graphic humour are obviously varied, encompassing several fundamental elements of comic art, what deserves attention: moreover, one should not suppose that this transformation completely changes the more “synthetic” character through which this genre’s episodic structure has consolidated its relationship with the reading public, in the terms of an appraisal of the more abbreviated meaning of the narrated events and the actantial economies typical of comicality, with its character drawings based in the classical ideas of “inferiority”, as well as of a “world of actions” based in ordinary situations of everyday life. Now, we aim to understand contemporary graphic humour plastic and narratological strategies, concerning their new inflection on the poetics of visual humour and their principles of incongruence through the chronological evolution of the artist Laerte Coutinho’s style.
« (Des) Aventuras do Índice nas Teorias da Fotografia ». Interin (UTP), v. 25, p. 9-26, 2020. (http://dx.doi.org/10.35168/1980-5276.UTP.interin.2020.Vol25.N2.pp9-26).
« Encenação e Aspecto : inflexões estilísticas na mise en scène da obra seriada televisiva de Aaron Sorkin ». ANIKI: REVISTA PORTUGUESA DA IMAGEM EM MOVIMENTO, v. 6, p. 81-105, 2019. (http://dx.doi.org/10.14591/aniki.v6n1.453)
(com João Senna Teixeira e Raphaël Baroni). « O Fazedor de Relógios: sistemas da temporalidade narrativa em Watchmen ». Revista Todas as Letras (MACKENZIE. Online), v. 21, p. 140-166, 2019.
« Disjonction, itération, sérialisation, curiosité : l’unité épisodique du gag visuel dans l’humour graphique ». Cahiers de Narratologie, p. 1-17, 2018. (http://dx.doi.org/10.4000/narratologie.8970)
(com Maria Carmem Jacob Souza). « Dimensões da autoria e do estilo na ficção seriada televisiva ». MATRIZES (ONLINE), v. 12, p. 53-77, 2018. (http://dx.doi.org/10.11606/issn.1982-8160.v12i2p53-77)
(com Consuelo Lins). « Dimensões da relação estética na obra fotográfica de Cao Guimarães. Significação-Revista de Cultura Audiovisual » v. 44, p. 278-297, 2017. (http://dx.doi.org/10.11606/issn.2316-7114.sig.2017.125787)
« Fotografia: teoria, interrompida? ». GALÁXIA (SÃO PAULO. ONLINE), p. 59-71, 2017. (http://dx.doi.org/10.1590/1982-2554233808)
« Beyond the fixity of drawing: aspectuality and narrative virtualities of depiction in caricature ». Journal of Graphic Novels and Comics, v. 7, p. 334-347, 2016. (http://dx.doi.org/10.1080/21504857.2016.1152988).
« Disjunção, Iteração, Serialização: a gag como unidade episódica no humor gráfico ». ESFERAS, v. 9, p. 91-100, 2016.