| dc.description.abstract | This work seeks to understant how the series She’s Gotta Have It (2017 - 2019), by Spike Lee, on Netflix, actualizes the audiovisual anthologies, that is, an audiovisuality that reflects the anthological property present in contemporary audiovisual technoculture. This audiovisual technoculture is marked by coexistence of multiple imagery and sound natures, and often loaded with politics. These politics are characterized by advancing the technique (BENJAMIN, 2012), which reveals itself in the tensioning of hierarchies and interruptions in forms that are considered natural or standardized in the audiovisual. Thus, our theoretical actions seek to understand the anthology becoming, characterized by the establishment or revision of canons (SERRANI, 2008), and to reflect on the audiovisualization strategies of this genre and format in contemporary technoculture. To do so, we methodologically depart from the flanerie (BENJAMIN, 2009) in order to open our empirical object, and we discredit and map the frames (KILPP, 2002) that produce the meanings of such techno-aesthetic convergences. In the analysis chapter, we developed six pauses, which, based on Abreu's propositions (2014), we built as transitory orderings, which can be rearranged and reveal other potentialities. However, in these pauses we find and reflect on the technocultural potentialities present in such sets of images, which lead us to understand the contemporary image as an image that wants everything - forms, techniques, aesthetics, media. | en |
