Gestão de acervos audiovisuais em repositórios
This master’s thesis presents the results of a research that focusing on proposing criteria and guidelines to manage moving images and sound collections, which have been produced at a public university in Brazil, named Universidade Federal do Ceará (UFC). It is a proposal made from the librarian’s m...
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| Tipo de recurso: | tesis de maestría |
| Estado: | Versión publicada |
| Fecha de publicación: | 2018 |
| País: | Brasil |
| Institución: | Universidade Federal do Ceará (UFC) |
| Repositorio: | Repositório Institucional da Universidade Federal do Ceará (UFC) |
| Idioma: | portugués |
| OAI Identifier: | oai:repositorio.ufc.br:riufc/39305 |
| Acceso en línea: | http://www.repositorio.ufc.br/handle/riufc/39305 |
| Access Level: | acceso abierto |
| Palabra clave: | Gestão da informação Acervos audiovisuais Mediação bibliotecária Análise de conteúdo Documento audiovisual Informação audiovisual Imagens em movimento Podcast Indexação de imagens Indexação audiovisual Decupagem Decupagem audiovisual Repositório audiovisual Software DSpace Software Evernote |
| Sumario: | This master’s thesis presents the results of a research that focusing on proposing criteria and guidelines to manage moving images and sound collections, which have been produced at a public university in Brazil, named Universidade Federal do Ceará (UFC). It is a proposal made from the librarian’s mediation at setting up an audiovisual repository. As a theoretical contribution, we discuss the dimensions of audiovisual information, the librarian’s competence and mediation at managing audiovisual collections, and some Brazilian and international guidelines for managing audiovisual repository. It is characterized as a qualitative research through methodological triangulation, which is proposed to explain the breadth of the subject. The first research method is the documentary research for analyzing normative documents that rule the institutional repositories of ten Brazilian universities and research institutions, which were selected under the criterion of those that stood out most on the Ranking Web of Repositories, aiming to verify if those documents have pointed out audiovisual collections in their scope. The second research method is the content analysis, which enabled the categorization and analysis of a sample of the audiovisual collections produced at UFC, such as: documentaries; short films; animations; television programs; radio programs; podcasts; video classes; lectures; and musical concerts. After that, a data collection tool was constructed on Evernote to analyze and describe that sample of audiovisual productions, and then the data was shared on Zenodo, which is an online repository. The data were collected according to the corpus selected for each research environment at UFC, namely: a course of Journalism; a school of cinema; a television program called UFCTV; an academic radio station; an academic library; and an academic choir. The choice of these environments is related to the sample for analyzing and describing. The analysis and description were made based on the types of audiovisual collections categorized from the content analysis method and through the audiovisual description technique, which allows to describe in detail all that is seen on the moving images and also which is heard from the sound analyzed, besides represent the audiovisual content by keywords. The section on discussion of the results is compounded by the analysis of ten normative documents on Brazilian institutional repositories; by the analysis of each category of audiovisual collections produced at UFC; and by our criteria and guidelines to manage audiovisual repository on DSpace, which were set up from communities, collections, metadata, audiovisual description and indexing, and a proposal of workflow at producing audiovisual information. Finally, we conclude that the development of our criteria and guidelines provides informational resources for managing moving images and sound collections on online repositories, also considering that each criterion and guideline can be applied at all kind of environments which have produced audiovisual information, and not only in public universities. |
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