Audiovisual como indústria criativa: uma cartografia dos produtores audiovisuais da fronteira São Borja/Brasil – Santo Tomé/Argentina

Abstract

This study is intended to expand to audiovisual respect as Creative Industry, based on a cartography of two audiovisual producers from Fronteira São Borja / Brazil - Santo Tomé / Argentina. The general lines of the Creative Industry are characterized by the convergence between arts, business and technology (BENDASSOLLI, 2009). Thus it was first found in the cartographic perspective (DELEUZE; GUATTARI, 2000), a possibility to enter that territory. The cartography allowed to observe the audiovisual production, in addition to its theoreticalpractical dimension (know about doing and knowing how to do). As a collective agency of enunciation (DELEUZE; GUATTARI, 2000), which inhabits the sphere of the senses in social reality, in addition to its semiotic flows; the audiovisual also has a material body (material flows) and social relations (social flows). In this sense, from a cartography of the semiotic flows, material flows and social flows of four audiovisual producers of the São Borja / Brazil - São Tomé / Argentina Border, we sought to understand how the various routines, contents produced and their experiments interrelate arts, business and technology, making it possible to understand them as Creative Industry. In order to do so, the study covered the following methodological path: bibliographic research; exploratory research; production of a documentary on the movements of audiovisual production in the São Borja / Brazil - Sao Tome / Argentina border and analysis of interviews and audiovisual Productions. With regard to the results of the study, the analysis of semiotic flows, that is, of audiovisual productions, led us to realize that in this triad (art, business and technology), the artistic dimension is the element that identifies the creative manifestation inserted in a context of Creative Industry. On the other hand, the analysis of the interviews drew attention to the central role that technology (material flows) takes in this interaction. The business, on the other hand, has a less protagonist position and is structured from the artistic dimension and the technological dimension. In addition, it was possible to identify different creative performances around the audiovisual material: technique of signification - creative content (DTL Audiovisual); recording technician - videographer (GOTT HD); information technology - independent local media (Caio Alegre Audiovisual Production); creative space - journalistic practice (TV Cablevisión).