Post-Graduation Program in Communication Master’s and Doctorate Degrees

Structure of the Program

About us

  • Courses Duration: 2 years (MSc, 750 hours) and 4 years (Ph.D., 900 hours)
  • Campus: Vila Olímpia
  • Number of seats: MSc (30) and Ph.D. (10)
  • Sc recommended by CAPES on July 14, 2006
  • D. recommended by CAPES on December 22, 2014.
  • Regulation of the PPG in Communication (In Portuguese)
  • Access the Academic Calendar (In Portuguese)
  • Sc Investment: Admittance fee of BRL 1,612.00 + 23 installments of BRL 1,612.00 (for those enrolling in the 1st semester of 2018)
  • D. Investment: Admittance fee of BRL 2,236,30 + 47 installments of BRL 2,236,30 (for those enrolling in the 1st semester of 2018)

Address: Rua Casa do Ator, 294 – Unit 5 – 7th floor – Campus Vila Olímpia

Phone: +55 (11) 3847-3037
E-mail: mecomunicacao@anhembi.br 
Getting to Know the Graduation Program in Communication – Audiovisual and Cinema Studies

Universidade Anhembi Morumbi’s Stricto Sensu Graduation Program – Master’s in Communication, was recommended by CAPES in July 2006 and started its activities in August of the same year. In 2014, the Ph.D. project was approved and recommended by Capes, starting its activities in March 2015.

Area:
Communication and Information Sciences
Area of concentration: Audiovisual and Cinema Studies
Research Focus: Analysis of Audiovisual; Audiovisual Culture

  • What is Program Area of Concentration? 
    Communication is considered in the Program as ‘large-scale communication.’ Large-scale communication (also called social, because it affects society, but not people individually) is mediated by several media. In line with the focus of Anhembi Morumbi University’s PPGCOM’s investigations, its area of concentration is the communicational phenomena essentially linked to audiovisual media. In this panorama of the area of concentration, cinema is primarily considered an array of studies that include other media configured in image and sound – video, television, internet, and others.

    RESEARCH FOCUS

  1. Audiovisual Analysis

The objects are movies, television programs, websites, etc., subjected to various types of analyses (aesthetic, poetic, historical, narrative, etc.). The goal is to study and understand the expressive configuration of the contemporary audiovisual universe, based on image products – both still and animated –, sound products, and the association of these two elements (image and sound). The purpose is to debate, discuss, and understand, through the study of forms, aesthetic experiences and entertainment strategies, the insertion of such products in the universe of expressions pertinent to audiovisual communication.

2. Audiovisual Culture
The objects are the media processes in the context of their relations with the audiovisual culture dynamics. The relationship between media and culture is focused specifically when they interfere with culture configured by the universe of image and sound, thus allowing the study of mediatization phenomena only in the specific type of culture that flourishes in the field of audiovisual communication.

Observation 1: The thesis are necessarily of a reflective-theoretical nature, addressing one or several issues involving the chosen object. Part of the work can be an audiovisual product that synthesizes the researcher’s theoretical-reflective assumptions.

Permanent professors

Bernadette Lyra: Ph.D. in Cinema at Universidade de São Paulo (USP). Postdoctoral Degree in Cinema at Université René Descartes, Paris V, Sorbonne.
Research Focus: Audiovisual Analysis

Research Themes: Film Analysis; Queer Cinema; Borderline Cinema; international Cinema; Brazilian Cinema.
E-mail: blyra@anhembimorumbi.edu.br

Curriculum Vitae: http://lattes.cnpq.br/8148037951352662

Gelson Santana: Ph.D. in Communication Sciences at Universidade de São Paulo (ECA-USP).
Research Focus:  Audiovisual Culture

Research Themes: Communication Technologies; Cinema and New Technologies; Borderline Cinema; Videogames; Cyberculture; Pop Culture; Hypermedia.
Email: gelsonsantana@ig.com.br 
Curriculum Vitae: http://lattes.cnpq.br/2975129034302290

Laura Loguercio Cánepa: Ph.D. in Multimedia at Universidade Estadual de Campinas (Unicamp-SP). Postdoctoral Degree in Audiovisual Media at Universidade de São Paulo (USP).
Research Focus: Audiovisual Analysis

Research Themes: Film Analysis; Horror Films; Brazilian Cinema; New Media Technologies.
E-mail: llcanepa@anhembi.br 
Curriculum Vitae: http://lattes.cnpq.br/8887782644586702 
Site: www.horrorbrasileiro.blogspot.com

Luiz Vadico: Ph.D. in Multimedia at Universidade Estadual de Campinas (Unicamp-SP).
Research Focus: Audiovisual Analysis

Research Themes: Film Genres; Religion and Audiovisual; Film History.
Email: vadico@gmail.com 
Curriculum Vitae: http://lattes.cnpq.br/8801741776669936 
Site: www.luizvadico.blogspot.com

Maria Ignês Carlos Magno: Ph.D. in Communication Sciences at Universidade de São Paulo (ECA-USP).
Research Focus:  Audiovisual Culture

Research Themes: Media Culture; History of Media Technology; Sociability, Communication and Identities; Criticism as Cultural Production.
Email: unsigster@gmail.com 
Curriculum Vitae: http://lattes.cnpq.br/1139572756285287

Renato Luiz Pucci Junior 
Degree: : Ph.D. in Communication Sciences at Universidade de São Paulo (USP). Postdoctoral Degree in Cinema at Universidade do Algarve.
Research Focus: Audiovisual Analysis

Themes that guides: Postmodern Cinema and Television; Television Fuction; Film and Television Theory.
Email: renato.pucci@gmail.com 
Curriculum Vitae: http://lattes.cnpq.br/9685714311770818

Rogério Ferraraz 
Titration: Ph.D. in Communication in Communication & Semiotics at Pontifícia Universidade Católica de São Paulo (PUC-SP)
Research Focus: Audiovisual Analysis

Themes that guides: Film Analysis; Film Genres; Contemporary International Cinema; TV Series.
Email: rogerioferraraz@anhembimorumbi.edu.br 
Curriculum Vitae: http://lattes.cnpq.br/7227946196791923

Sheila Schvarzman: Ph.D. in Social History at Universidade Estadual de Campinas (Unicamp-SP). Postdoctoral Degree in Multimedia at Universidade Estadual de Campinas (Unicamp-SP).
Research Focus:  Audiovisual Culture

Research Themes: History and Cinema; History of Cinema; Brazilian Cinema; Documentary.
Email: sheilas@uol.com.br 
Curriculum Vitae: http://lattes.cnpq.br/9549195212952852

Vicente Gosciola: Ph.D. in Communication & Semiotics at Pontifícia Universidade Católica de São Paulo (PUC-SP). Postdoctoral Degree in Cinema at Universidade do Algarve.
Research Focus:  Audiovisual Culture

Research Themes:  Transmedia; New Media, Cinema, Technology and Style of Cinema and Audiovisual; Cyberculture.
E-mail: vicentegosciola@anhembimorumbi.edu.br 
Curriculum Vitae: http://lattes.cnpq.br/5946402698411270

Post-Doctoral Students

IN PROGRESS:

Jamer Guterres de Mello

Period: 2016 – current

Research Project: Images, screens and projections: Dialogues between cinema and video installation in the work of Harun Farocki

Funding agency: PNPD / CAPES

Supervisor: Profa. Dr. Laura Loguercio Cánepa

Research Line: Audiovisual Analysis

Link to the Lattes Curriculum: http://lattes.cnpq.br/9707216305631668

COMPLETE

Bruno Cesar Simões Costa

Period: 2013-2014

Research Project: The present in the future: the historical valences in futuristic fantasies from the work of Philip K. Dick

Financing Agency: PNPD / CAPES

Supervisor: Prof. Dr. Gelson Santana Penha

Research Line:  Audiovisual Culture

Curriculum Vitae: http://lattes.cnpq.br/9440881851949222

 

Lúcio De Franciscis dos Reis Piedade

Period: 2011-2014

Research Project: Representations of grotesque, horror and violence in the Brazilian porn films of the 1980s

Financing Agency: FAPESP

Supervisor: Prof. Dr. Rogério Ferraraz

Research Focus: Audiovisual Analysis

Curriculum Vitae: http://lattes.cnpq.br/4333942354628642

 

Thiago Pereira Falcão

Period: 2014-2015

Research Project: Beyond the Interline: Interfaces and its mediating role in Electronic Games

Funding agency: PNPD / CAPES

Supervisor: Prof. Dr. Vicente Gosciola

Research Focus:  Audiovisual Culture

Curriculum Vitae: http://lattes.cnpq.br/9175813568580367

Purposes of the Graduation Program in Communication – Audiovisual and Cinema Studies at Anhembi Morumbi University

  1. Train and graduate researchers, professors and professionals who are able to handle issues related to the insertion of the audiovisual communication in the field of interests of scientific thought.
    2. Develop and encourage researches, papers, publications and similar works that examine audiovisual media, whether specifically in the expressive setting of its products and processes, or in relation to other communication modes, as well as its impact on mediatized societies and cultures.
    3. Encourage the involvement of all professors, students and other participants in the Masters and Ph.D. courses in the Graduation Program in the production of knowledge aimed at the intended concentration area (Audiovisual Communication).
    4. Encourage the search and the use of assumptions, theories and principles from other areas, such as Arts, History, Sociology, Anthropology and others, in studies and research developed in this Program, guaranteeing a multiple scientific character and favoring interdisciplinary exchanges throughout the course.
    5. Contribute to improve and update the graduation courses at Universidade Anhembi Morumbi classes, Research Mentorship programs, participation in Course Final Papers and other academic relationship mechanisms.
    6. Promote and perform national and international cooperation and exchange programs with other Graduation courses in the Communication Area, particularly those related to Audiovisual, allowing the continuous improvement of professors and students, as well as updates and exchange of information in the fields of teaching and research.

Profile of the graduating professional

The Graduation Program in Communication – Audiovisual and Cinema Studies is ready to train professionals with enough academic and extra-academic skills to address the scientific aspects of audiovisual communication, studying, analyzing, producing and applying methodologies that can account for the knowledge of this specific area, and also in the relationship it holds with the other areas within the Communication.

Researchers and professors graduated by the course are able to develop studies, research and projects involving the audiovisual communication, in the framework of audiovisual production and processes, managing assumptions that are appropriate to the engagement with the means of communication, with media convergence and the mediatization of the society and current culture in face of the dissemination of technological innovations and advances in the field of image and sound, as well as the impact on global communication practices.

Areas of Concentration and Research Focus

Concentration Area:

Communication – Audiovisual and Cinema Studies: Communication is considered as ‘large-scale communication.’ Large-scale communication is mediated by several media. In line with the focus of Anhembi Morumbi University’s PPGCOM’s investigations, its area of concentration is the communicational phenomena essentially linked to audiovisual media. In this panorama of the area of concentration, cinema is primarily considered an array of studies that include other media configured in image and sound – video, television, internet, and others.

Mandatory subjects linked to the Area of Concentration

Audiovisual Communication and Contemporary Theories (for Master students)
Audiovisual Communication and Contemporary Theories II (for Ph.D. students)

Research Focus:

  1. Audiovisual Analysis. The objects are movies, television programs, websites, etc., subjected to various types of analyses (aesthetic, poetic, historical, narrative, etc.). The goal is to study and understand the expressive configuration of the contemporary audiovisual universe, based on image products – both still and animated –, sound products, and the association of these two elements (image and sound). The purpose is to debate, discuss, and understand, through the study of forms, aesthetic experiences and entertainment strategies, the insertion of such products in the universe of expressions pertinent to audiovisual communication.

Elective subjects linked to Research Focus 1:

  • Analysis of forms in the audiovisual media of communication
  • Aesthetics of audiovisual media
  • Serial forms in the audiovisual media
  • Experimentation, invention and avant-garde in the audiovisual
  • Image and sound analysis methodologies
  • Audiovisual narrative modes in media
  • Film Theories and Film Analysis Practices
  • Television Analytical Studies
  • Special topics for analysis of audiovisual products.
  1. Audiovisual Culture

The objects are the media processes in the context of their relations with the audiovisual culture dynamics. The relationship between media and culture is focused specifically when they interfere with culture configured by the universe of image and sound, thus allowing the study of mediatization phenomena only in the specific type of culture that flourishes in the field of audiovisual communication.

Elective subjects linked to Line 2:

  • Pop cultural concepts in mass media
  • Audiovisual culture and identities
  • Effects of communication technologies
  • History and audio-visual media
  • Contemporary methodologies in the history, memory and audiovisual interface
  • Opinion and statement in the context of organizations and their audiovisual messages
  • Criticism as production and cultural practice
  • Communication technologies and sociabilities
  • Special topics for media processes in audiovisual culture

 

ONGOING RESEARCH PROJECTS

LINE 1: ANALYSIS OF AUDIOVISUAL PRODUCTS

Professor Bernadette Lyra, Ph.D.

QUEER RESISTANCE IN THE BRAZILIAN CINEMA

Queer cinema exhibits different forms of sexualities and identities, refusing any moral value that establishes a boundary between socially accepted narratives and characters usually relegated to the condition of depreciation and minority. We analyze the queer Brazilian film production, considering, in particular, two film companies: Alumbramento (from Ceará) and Surto and Deslumbramento (from Pernambuco). The goal is to observe the formal characteristics, as well as the cinematographic strategies present in the current queer filmography. We intend to examine an aesthetic proposal that subverts the “real / artificial” binarism, presenting alternatives to the political utilitarianism of a naturalist model of queer film. The methodology is anchored in the film analysis.

Profa. Dr. Laura Loguercio Cánepa

ANALYSIS OF CONTEMPORARY PRODUCTION OF HORROR FILMS IN BRAZIL (2008 – 2015)

This project continues the search started in 2005 in the thesis ”Medo de quê? – Uma história do horror nos filmes brasileiros”, presented at Unicamp in 2008. Since then, the Brazilian horror films, which was a minority trend until that moment, has conquered a more significant space in the national cinema, both in festivals and as in productions with massive reach among commercial releases. The purpose of this research is to understand how this new panorama is set, starting with the super production Embodiment of Evil (a return to the screens of the main Brazilian horror film creator, José Mojica Marins, in 2008), followed by several short and feature films. The aim is to examine the narrative, stylistic and marketing insertion choices of these films, also considering their relationship with the previous tradition in the Brazilian horror. Several papers from different Brazilian researchers on the theme were used as the basic bibliography (Lúcio Reis Piedade, Rodrigo Carreiro, Carlos Primati, Laura Cánepa, among others), as well as the bibliography on the Latin American horror films, such as the works by Rosssana Diaz-Zambrana. Contemporary studies on horror cinema, such as those from Mark Jankovich, Robert Spadoni, Richard Bégin, Laurent Guido and Jeremy Morris, will also be considered in this study so as not to lose sight of how the Brazilian horror films relate to international trends.

Prof. Dr. Luiz Antonio Vadico

FILMIC HAGIOGRAPHY. WHY THE LIFE OF A SAINT IS NOT A BIOPIC.
This project started after our first reflections in a previous study on the Religious Film. Seeking to conceptualize the mass of religious films, the author came across Pamela Grace’s book The Religious Film: the hagiopic, from 2009. Similar to William Telford, Michelle Wright, and others, she wished to establish a concept of genre that encompassed all that universe, imposing the productions from a Christian origin as a limit, naming this gender as Hagiopics. In this effort, she even included films on the lives of Saints, and that was the point where her work aroused interest. The author previously defended the existence of the “Religious Film Field”, which includes several genera (VADICO, 2010, p. 178), and therefore, he disagrees with the term hagiopic being used as a concept of a broad genre. However, it is understood that it can now be relocated with adjustments for the Hagiographic Film, or Filmic Hagiographies. In other words, a genre encompassed by the Religious Film Field, and which deals with the Lives of the Saints and only them, with very few published works. The purpose of our work is to reflect on its features, shape and aesthetics.

Prof. Dr. Renato Luiz Pucci Jr.

TV INTELLIGENCE – FROM THE ARGUMENTATIVE SERIES TO THE LEARNING OF COGNITIVE COMPETENCIES

The project aims to find out what kinds of television series could contribute to the fact that large population groups (predominantly young people, but not only them) are exposed to situations of cognitive process learning, such as argumentative debate, problem solving and decision. Exposure to scenes with these occurrences could create a microenvironment that simulates real experiences, as if the viewer were in front of people and following assumptions, conclusions, refutations, attempts to solve problems and choosing rational decisions. In the first year, we intend to analyze series of lawyers in search of more elements of critical thinking and insight, in addition to those already discovered in the previous project in other television genres. These elements would be in scripts and would be presented through audiovisual language resources able to maintain the attention of the spectators. From the second year, contacts will be made with researchers from other areas, such as Education and Cognitive Psychology, in order to form a research group that deepens the research and is capable of conducting laboratory tests with the objective of passing from the inferences phase as for what happens to viewers for the test phase, where those inference will be corroborated. It is intended to propose tests in which volunteers apply what is learned by watching specific scenes. In the final phase of the schedule, there will be 1 examination of the participation of volunteers in discussion forums on the internet, with the purpose of exercising the learned through television. It is a qualitative research, with the use of analytical and empirical methodology. The theoretical basis is in Jeremy Butler, Bruce Block and Ángel Rodriguez in television style, Robert H. Ennis on critical thinking, Reuven Feuerstein in the field of learning and Vitor Reia-Baptista on the question of media literacy. The project was awarded the PQ-2 grant for the 2018-2021 period.

Prof. Dr. Rogério Ferraraz

AUTHORSHIP AND GENDER IN DAVID LYNCH BORDERLINE CINEMA

This research intends to revisit the films of David Lynch, object of my doctoral thesis defended in 2003. We propose a review of the concept of borderline cinema developed at that time, checking its relevance and comprehensiveness, especially regarding the analysis of generic elements in his work. The hypothesis is that authorship and genre go together in Lynch’s work. In 1984, Ismail Xavier pointed out that in the cinema of that era, “remaking and displacement were notably in the foreground, authorial production was a second degree fiction, repeating classic devices, but with a new meaning, from the hyper aware rearrangement of the same style figures, which were displaced and invigorated by the introduction of new ingredients”. Xavier concluded that in that process of reiteration and displacement, cinema would better see its own language conventions, the gender laws of the film industry and their ideological and political meaning within the mass culture. In the American contemporary cinema (herein comprising the period starting in the mid-1970’s), David Lynch was one of the directors who accomplished such achievement. In his films, from “Eraserhead” (1977) to “Inland Empire” (2006), only considering his feature films, Lynch repeats recurring themes and characteristics that repeat themselves, allowing to qualify them as authorship traces. However, several of them arise from the way Lynch works with film genres, such as noir, horror, road movie, among others: the filmmaker uses the major clichés in these genres, sometimes to honor them, others to overturn and violate them. Lynch develops a sort of borderline cinema that operates precisely in the boundaries between illusionism and anti-illusionism, classical narrative and avant-garde proposals, genre films and experimental films. This borderline cinema mixes different film forms and artistic concepts, producing a narrative and aesthetic puzzle, where the collection of the parts (or clues) results in the formation of a complex whole, with multiple meanings. Thus, the purpose of this research is to verify that the concept of borderline cinema can still be applied to films from the filmmaker and whether it can be extended to audiovisual works Lynch has developed in other media, such as television, video and the internet. Additionally, it seeks to demonstrate that the rearrangement of cinematic genres is an important piece in this Lynchian authorial audiovisual game.

REASEARCH FOCUS 2 – AUDIOVISUAL CULTURE

Prof. Dr. Gelson Santana Penha

ONTOLOGICAL INDIVIDUALISM IN CONTEMPORARY MIDITIC CULTURE

Contemporary cultural experience has been captured by the imagery of the media. Thus, the performances of contemporary culture are presented in their strategies, not with the symbolic that gives ritual form to the collective, but as a spectrum of a symbolism that defines, at present, its own constitution. To be represented today is to construct virtual castles of reality that function as forms of difference, referential of the individual world experience, reflected in media products, and are the revealing marks of what we have become and what culture has become in this labyrinth without guiding the contemporary media.

Profa. Dra. Maria Ignês Carlso Magno

THE BRAZILIAN TELENOVELA UNDER THE EYES OF CRITICISM IN 1970’s TO 1990’s

Since my master degree, reviews cultural production have been the object of my study and research. The current project intends to continue with the studies of reviews and critical production on “telenovelas” in Brazil and their production and broadcast aspects through communication media, allowing knowledge on a specific period and on the very situation of critical language in the scope of society formatted by mass media. This is a theoretical research, with the analysis focusing fictional production and the reviews produced between 1970 and 1990. The expected results are the collaboration with critical studies in the audiovisual communication area, in particular “telenovela” reviews.

Profa. Dra. Sheila Schvarzman

GUSTAVO DAHL – PATHS OF CINEMA, PATHS OF BRASIL

Gustavo Dahl (1938- 2011) is a pivotal name of Brazilian cinema. As a director, he did not restrict his activity to directing films, but he also devoted himself to criticism, to political intervention (in matters of cinema and Brazilian culture) and to the management of Embrafilme. His arrival at the Embrafilme took place in 1974. At the moment, the work of Dahl endowed the Brazilian cinema with a great film distributor company, that faced the hegemony of the Hollywood cinema, something that had never existed before in Brazil – and that after the extinction of Embrafilm, in 1989, Brazil would not have it again. Dahl also created and directed Ancine (National Film Agency) between 2001 and 2006. After that, he served as President of the Council of the Brazilian Cinematheque Foundation, and Manager of the Audiovisual Technical Center (the CTAV in Rio de Janeiro), until his death, in 2012. Gustavo Dahl dedicated himself to practically all the branches of the cultural and cinematographic activity in Brazil. Thus, our research intends to delineate his important trajectory. For this generation, until the 1950’s, the construction of Brazilian cinema and culture was a form of intervention and construction of a country more equitable and less unequal. Thus, to bring to light the testimony, the visions and contributions of Gustavo Dahl in all these activities of which he was a protagonist, is also to think Brazil in the last sixty years.

Prof. Dr. Vicente Gosciola

INTERACTIVE AND CROSS-MEDIA NARRATIVES IN AUDIOVISUAL MEDIA

The project aims to develop a study on the several social processes resulting from audiovisual media in the context of interactive and cross-media narratives. From the review of the screenwriting and film narrative principles in cinema and audiovisual, the author observes the interactivity and cross-media practices and their roles in the new media and social networks. The research culminates with the production of an open-source database for the study and promotion of interactive and cross-media audiovisual production.

Subjects

Mandatory subjects (connected to the Area of concentration)

  • Audiovisual Communication and Contemporary Theories (exclusive for Master students)
  • Audiovisual Communication and Contemporary Theories II (exclusive for Ph.D. students)

Optional Subjects:

Research Focus 1 Analysis of Audiovisual

  • Analysis of forms in communication audiovisual media
  • Aesthetics of audiovisual media
  • Serial forms in audiovisual media
  • Experimentation, invention and the avant-garde in audiovisual media
  • Image and sound analysis
  • Audiovisual narrative modes in the medias
  • Film theory and film review practices
  • Television analytical studies
  • Special topics for the analysis of audiovisual products.

Research Focus 2: Audiovisual Culture

  • Cultural concepts of pop in mass communication media
  • Audiovisual culture and identities
  • Effects of communication technologies
  • History and audio-visual media
  • Contemporary methodologies in the history, memory and audiovisual interface
  • Criticism as production and cultural practice
  • Communication technologies and sociabilities
  • Special topics for media processes in audiovisual culture

MASTER:

During the period in which he is enrolled, the student of the Master should take:

  • 1 (one) compulsory subject, linked to the program concentration area: 4 credits
  • 1 (one) optional subject in the search line to which your project is linked: 4 credits
  • 2 (two) elective subjects of free choice: 8 credits

Total credits in subjects: 16 credits

The other credits will be awarded at the discretion of the supervisors, according to activities scheduled: 14 credits.

After completing all the credits in disciplines and programmed activities, the student will take the Qualification Exam and the Master Thesis: 20 credits

Total course credits: 50

Total hours: 750

Duration: 24 months

PhD:

During the period in which you are enrolled, the student must take:

  • 1 (one) compulsory subject, linked to the program concentration area: 4 credits
  • 2 (two) optional subjects in the research line to which your project is linked: 4 credits
  • 2 (two) elective subjects of free choice: 8 credits

Total credits in subjects: 20 credits

The other credits will be awarded at the discretion of the supervisors, according to activities scheduled: 14 credits.

After completing all the credits in disciplines and programmed activities, the student will take the Qualification Exam and the Master Thesis: 30 credits

Total course credits: 66

Total hours: 990

Duration: 48 months

 

Student Representative – CPG

Name: Paula Regina da Silva Ferreira

Supervisor: Luiz Antonio Vadico

 

Links

1895: http://1895.revues.org/sommaire294.html

BRITISH INSTITUTE OF FILM: http://www.bfi.org.uk/about/

CAPES:  http://www.capes.gov.br/

CINEMATECA BRASILEIRA:  http://www.cinemateca.com.br/

CNPq:  http://www.cnpq.br/

COMPÓS: The National Association of Postgraduate Programs in Communication  http://www.compos.org.br/

FAPESP:  http://www.fapesp.br/

INTERCOM: The Brazilian Society of Interdisciplinary Communication Studies: http://www.intercom.org.br/index.shtml

MINISTRY OF CULTURE – MinC : www.cultura.gov.br .

 

MOBYGAMES: http://www.mobygames.com/home

CELLULAR NOMADISM: http://nomadismocelular.wordpress.com/

PORTA CURTAS: http://www.portacurtas.com.br

QUALIS PERIÓDICOS provides a list with the classification of the vehicles used by the postgraduate programs for the dissemination of their production: http://qualis.capes.gov.br/webqualis/ConsultaPeriodicos.faces

SIGHT AND SOUND: http://www.bfi.org.uk/sightandsound/

SOCINE: The Brazilian Society of Film and Audiovisual Studies: http://www.socine.org.br/

UCLA FILM AND TELEVISION ARCHIVE: http://www.cinema.ucla.edu/index.html

Library

– Library

The Documentation and Research Center of the Master’s Program in Communication of the Library System of the Universidade Anhembi Morumbi aims to enable the dissemination of technical and academic information on Audiovisual Communication, according to the research lines of the Master’s in Communication of the University, giving support to teaching, extension and research.

The collections of specific books, works, media and all material involved and produced in the research, have the purpose of feeding new and constant investigations.

Selective process

Admission

MASTER AND Ph.D. IN COMUMUNICATIONS – CINEMA AND AUDIOVISUAL

October 01th through November 16th, 2018

Documents delivery.

December 3th, 2018

Dissemination of the names of the candidates selected for Stage 2 (Essay exam on Audiovisual and Cinema; Foreign Language Exam and Individual Interview).

Note: the project assessment is ELIMINATORY. Only candidates whose projects were selected in the 1st Step will participate in the next step. The list will be published on December 03, 2018 on the Graduate Program in Communication webpage ( http://portalhomolog.anhembi.br/cursos/ppgcomunicacao/#tab1 ).

December 12th, 2018

9:00 a.m.  to 11:30 a.m. – Essay exam on Audiovisual and Cinema (in Portuguese)

11:30 a.m. to 1 p.m. – Foreign Language Exam

In the Essay exam on Audiovisual and Cinema, the candidate must provide an observation from the analysis of an audiovisual piece, where the theoretical domain of issues related to audiovisual communication media is assessed.

In the foreign language exam, the candidate must prove their reading skills. The foreign languages accepted by the Program are Spanish, English or French. The use of a hard-copy monolingual dictionary is allowed. For Ph.D. candidates, two foreign languages are required.

December 12th and 13th, 2018

Scheduled interviews

The interview comprises a formal meeting of the candidate with the professors of the Program. At this meeting, there is a discussion on the research project presented by the candidates and their Lattes (format curriculum vitae).

Note: the interview schedule will be provided by the teacher responsible for applying the test on 12/13/2016.

Location of tests and interviews

Vila Olímpia Campus

Rua Casa do Ator, 294. Unit 5, ground floor, room 509-T.

December 18th, 2018

Results published on the Program webpage ( http://portalhomolog.anhembi.br/resultados/ ).

Registration

From December 22 to 30, 2018, from Monday to Friday from 9:00 a.m. to 7:00 p.m., at the Candidate Service Center of Campus Vila Olímpia (Rua Casa do Ator nº 275).

 

Master’s Degree

Click here to access the application form – MSc (In Portuguese)

Ph.D.

Click here to access the application form – Doctorate (In Portuguese)

Notice

Announcement of the Postgraduate Program in Communication (In Portuguese)

Results

Master’s Degree

Click here to access (In Portuguese)

Ph.D.

Click here to access (In Portuguese)

Regulation

Click here to go (In Portuguese)

Scholarships

Scholarships

Master in Communication – Audiovisual and Cinema Studies

GRADUATE PROGRAM INSTITUTIONAL SCHOLARSHIP

Scholarship program valid as of the second half of 2014 awards full and partial merit-granted scholarships to freshmen in the Master’s courses of Universidade Anhembi Morumbi.

Typology

Institutional full merit-granted scholarship for the 10 (ten) best ranked applicants in the selection process, as follows: from the 1st to 5th best ranked applicants – 100% (one hundred percent) and from 6th to 10th best ranked applicants – 50% (fifty percent). It includes registration and tuition fees.

Granting criteria

Qualifying order in the selection process provided that the minimum general grade obtained is 9.0 (nine) for a full scholarship and 8.0 (eight) for a 50% percent (fifty percent) scholarship; Declaration of acceptance of the PAA (Academic Activity Program), consisting of research, mentoring and teaching activities in the areas of the University and PPGCOM as follows: 12 (twelve) hours per week for full scholarship holders and 6 (six) hours per week for 50% (fifty percent) scholarship holders, in addition to the hours employed to attend the Master’s Program courses.

Loss of Benefit

  • Transfer, non-payment, drop or withdrawal from the course.
  • Fraudulent information.
  • Inadequate academic performance.
  • Scholarship holder’s performance in the PAA assessed as unsatisfactory by the supervisor.

CAPES-PROSUP: Program for Supporting Graduation Courses in Private Education Institutes, funding Private Higher Education Institutions. It contributes with financial resources (credits-scholarship), intended for the funding of scholarships, for the maintenance of standards of excellence and efficiency in the training of high-level human resources, essential to the development of the country. PPGCCOM offers a limited number of CAPES-PROSUP Scholarships for master’s, Ph.D. and postdoctoral degrees. To be eligible for the grant for a master’s or Ph.D. program, the student must be regularly enrolled in the Universidade Anhembi Morumbi Graduate Program in Communication – Audiovisual and Cinema Studies. Public notices are open based on CAPES’ resource availability.

FAPESP: for information on the types of scholarships offered by FAPESP for Master’s, Ph.D. and Postdoctoral programs, go to http://www.fapesp.br/candidatosabolsas. The applicant for the scholarship and their supervisor/advisor must come to a mutual agreement on the request and they are both responsible for submitting it to the development agency.

CNPq: for information on the types of scholarships offered by CNPq for Master’s, Ph.D. and Postdoctoral programs, go to http://www.cnpq.br/web/guest/apresentacao13. The applicant for the scholarship and their supervisor/advisor must come to a mutual agreement on the request and they are both responsible for submitting it to the development agency.

Full scholarships for IES’ professors and employees: they are negotiated by Universidade Anhembi Morumbi Human Resources Department.

Ph.D. in Communication – Audiovisual and Cinema Studies

GRADUATE PROGRAM INSTITUTIONAL SCHOLARSHIP

Scholarship program valid as of the first half of 2013 awards full and partial merit-granted scholarships to freshmen in the Ph.D. courses of Anhembi Morumbi University.

Typology

Institutional full merit-granted scholarship for the 10 (ten) best ranked applicants in the selection process. It includes registration and tuition fees.

Granting criteria

Qualifying order in the selection process provided that the minimum general grade obtained is 9.0 (nine) for a full scholarship; declaration of acceptance of the PAA (Academic Activity Program), consisting of 12 (twelve) hours per week in research, mentoring and teaching activities in the areas of the University and PPGCOM, in addition to the hours employed to attend the Ph.D. program courses.

Loss of Benefit

  • Transfer, non-payment, drop or withdrawal from the course.
  • Fraudulent information.
  • Inadequate academic performance.
  • Scholarship holder’s performance in the PAA assessed as unsatisfactory by the supervisor.

CAPES-PROSUP: Program for Supporting Graduation Courses in Private Education Institutes, funding Private Higher Education Institutions. It contributes with financial resources (credits-scholarship), intended for the funding of scholarships, for the maintenance of standards of excellence and efficiency in the training of high-level human resources, essential to the development of the country. PPGCOM offers a limited number of CAPES-PROSUP Scholarships for master’s, Ph.D. and postdoctoral degrees. To be eligible for the grant for a master’s or Ph.D. program, the student must be regularly enrolled in the Universidade Anhembi Morumbi Graduate Program in Communications. Public notices are open based on CAPES’ resource availability.

FAPESP: for information on the types of scholarships offered by FAPESP for Master’s, Ph.D. and Postdoctoral programs, go to http://www.fapesp.br/candidatosabolsas. The applicant for the scholarship and their supervisor/advisor must come to a mutual agreement on the request and they are both responsible for submitting it to the development agency.

CNPq: for information on the types of scholarships offered by CNPq for Master’s, Ph.D. and Postdoctoral programs, go to http://www.cnpq.br/web/guest/apresentacao13. The applicant for the scholarship and their supervisor/advisor must come to a mutual agreement on the request and they are both responsible for submitting it to the development agency.

Clinton Global Initiative/Laureate International Universities Scholarship Program, in partnership with São Paulo’s Municipal Department of Education: full scholarship for tenured teachers of the São Paulo’s Municipal Public Education Network.

Full scholarships for IES’ professors and employees: they are negotiated by Anhembi Morumbi University’s Human Resources Department.

About the exchange

A Universidade Anhembi Morumbi faz parte da Rede Laureate de Universidades, a maior rede de ensino superior do mundo, com mais de 1 milhão de alunos, em 80 instituições de ensino, nos 28 países em que atua.

Dessa forma, oferece aos seus alunos a possibilidade de participar de programas de intercâmbio no exterior e trocar conhecimentos com pessoas das mais diversas nacionalidades, voltando ao Brasil com fluência em outra língua e um certificado internacional.

Nossos estudantes ainda contam com benefícios exclusivos, como:

  • Câmpus multicultural, com estudantes de diversas nacionalidades;
  • Conteúdos curriculares e materiais didáticos de outras universidades da Rede Laureate;
  • Fóruns internacionais para trocar experiências com estudantes e professores de outros países;
  • Feiras internacionais com a presença de representantes das universidades estrangeiras;
  • Oportunidade de Bolsas para cursos e eventos no exterior.

PROGRAMAS INTERNACIONAIS

INTERCÂMBIOS SEMESTRAIS PARA GRADUAÇÃO PRESENCIAL
Com duração de 6 meses e possibilidade de ampliar para 1 ano, os intercâmbios internacionais possibilitam o aproveitamento de disciplinas cursadas no exterior pagando a mesma mensalidade* da Anhembi Morumbi. Podem participar estudantes de bacharelado e licenciatura, sendo obrigatório cursar o primeiro e o último ano do curso no Brasil.

INTERCÂMBIOS SEMESTRAIS PARA GRADUAÇÃO TECNOLÓGICA
Duração de 6 meses, com aproveitamento de disciplinas cursadas no exterior, pagando a mesma mensalidade* da Anhembi Morumbi. Podem participar estudantes de Graduação Tecnológica (presenciais e semipresenciais), sendo obrigatório cursar o primeiro e o último semestre do curso no Brasil.

DUPLA TITULAÇÃO
O aluno realiza uma parte do curso na Universidade Anhembi Morumbi e outra parte em uma universidade da Rede Laureate no exterior, obtendo, ao término do curso, dois diplomas válidos em seus respectivos países e mercados de trabalho.

PROGRAMAS DE FÉRIAS OU CURTA DURAÇÃO
Fazem parte do catálogo de programas internacionais da Rede Laureate e Universidades parceiras, e são oferecidos, normalmente, nos períodos de janeiro e julho. Estes programas são abertos a todos os estudantes e egressos dos cursos presenciais, semipresenciais e a distância.

APOIO AO 1ALUNO
O International Office, departamento internacional da Anhembi Morumbi, é responsável por oferecer aos estudantes as melhores oportunidades de intercâmbio entre as universidades parceiras. Além disso, proporciona todo o suporte para que os estudantes viajem com tranquilidade para seus estudos no exterior, oferecendo:

  • Suporte para organizar documentação e demais requisitos para o intercâmbio;
  • Sessões informativas com pais e estudantes antes do embarque;
  • Manuais de intercâmbio com informações sobre o país de destino;
  • Organização para que os estudantes viajem em um único grupo.

*Confira no International Office quais são as instituições que oferecem esta opção.