In the course, FTV 201A： MEDIA INDUSTRIES and CULTURES of PRODUCTION： FOUNDATIONS, we discussed how to think the philosophy and thoughts that surround people who produce and work in the culture of production and med...In the course, FTV 201A： MEDIA INDUSTRIES and CULTURES of PRODUCTION： FOUNDATIONS, we discussed how to think the philosophy and thoughts that surround people who produce and work in the culture of production and media. That way, the purpose of this work is to think the use of post-horror label as a marketing strategy in the context of Brazilian contemporary literature and cinema. For that, I map the profile of three Brazilian writers： Santiago Nazarian, Antonio Xerxenesky, and Raphael Montes. They are published now by Companhia das Letras, the largest publisher in Brazil, which has an extensive work with the horror literature, having the exclusivity of Stephen King’s books. In addition, all three circulate differently in the media space, standing between an acceptance of academic criticism and the prestige of large-scale consumer audiences. I analyzed what are the writer strategies to construct their image and establish themselves in the literary market using the Post-horror label and its relation with the production company, RT Features, which is financing them. In the end, I did a critical analyzes of the post-horror label as a transmedia strategy to construct an author’s name.展开更多
文摘In the course, FTV 201A： MEDIA INDUSTRIES and CULTURES of PRODUCTION： FOUNDATIONS, we discussed how to think the philosophy and thoughts that surround people who produce and work in the culture of production and media. That way, the purpose of this work is to think the use of post-horror label as a marketing strategy in the context of Brazilian contemporary literature and cinema. For that, I map the profile of three Brazilian writers： Santiago Nazarian, Antonio Xerxenesky, and Raphael Montes. They are published now by Companhia das Letras, the largest publisher in Brazil, which has an extensive work with the horror literature, having the exclusivity of Stephen King’s books. In addition, all three circulate differently in the media space, standing between an acceptance of academic criticism and the prestige of large-scale consumer audiences. I analyzed what are the writer strategies to construct their image and establish themselves in the literary market using the Post-horror label and its relation with the production company, RT Features, which is financing them. In the end, I did a critical analyzes of the post-horror label as a transmedia strategy to construct an author’s name.
