Medo, delírio e remix: apropriação e recontextualização de áudios no jornalismo em podcast

Abstract

This dissertation is guided by the following research question: How does remix, understood as practices of reuse, recontextualization, and articulation of sonic content, manifest itself in the podcast Medo e Delírio em Brasília, and what communicative functions does it perform in the construction of its narrative? Situated within the context of digital culture, remix constitutes a recurrent practice of symbolic production, characterized by the appropriation of pre-existing materials, the circulation of media fragments, and the resignification of content through new narrative arrangements. The general objective of this study is to understand the characteristics and functions of remix in the construction of the podcast’s narrative and sonic identity. Adopting a qualitative and exploratory approach, Content Analysis is applied to a corpus of four episodes, selected between 2021 and 2024 in order to encompass different political conjunctures and editorial formats. The results indicate that remix operates as a structuring strategy of the podcast, articulating sound bites, music, and sonic punctuation to compose its narrative. Sound bites are employed to provide factual grounding, to express opinion, and to offer interpretation; music subverts official discourses and generates recurring humorous catchphrases; and sonic punctuation may function as commentary, affective punctuation, or editorial counterpoint to the main discourse, constituting a structuring element of the podcast’s rhythmic, aesthetic, and ideological identity. As an original contribution, this research proposes a conceptualization of sonic punctuation, defining it as an editing resource characterized by brief audio insertions that, beyond their demarcative function, assume a semantic and expressive role. Such a definition has not been identified in depth in the existing literature and thus emerges here as a theoretical advancement. Another relevant finding is self-remix, characterized by the reuse of excerpts from previous episodes, a mechanism that reinforces memory and narrative continuity through the recycling of authorial content. The analysis reveals how the podcast employs these insertions to inform, opine, interpret, and entertain, constructing a hybrid narrative that dissolves the boundaries between journalism and humor. It is concluded that the podcast exemplifies the reconfiguration of sonic media in digital culture by articulating discourses, voices, and audio materials from multiple sources – including its own previous episodes – to construct a narrative that critically documents the present while relating political conjuncture to historical records.