With the rise of Internet, Web and new media technologies come increased opportunities for audience to recreate media content and influence its flow across different media platforms. The fan as a demanding yet enthusiastic consumer has become a centrepiece of media industries' marketing strategies. On the one hand, this qualitative change often described as participatory culture means a giant leap forward for fans, who can now serve new roles within the media industry. On the other, it represents a potential exploitation of media users, as unpaid volunteers do the labour professionals are paid for. This study investigates this tension in a case of videogame fans. On their official websites, videogame developers encourage fans to contribute with their fan art harnessing fan creativity for their advertising purposes. Convergence culture raises conflicts and compromises between creators of fan art (fan artists), and the owners of the copyrighted works they appropriate (game companies). This study addresses three main issues: (1) the way and circumstances under which game companies are displaying fan art on their official websites, (2) how fans understand the tensions between empowerment and exploitation, how do they address the issue of free labour, (3) how fans view issues concerning intellectual property...

Submitted by Renata Lopes (renatasil82@gmail.com) on 2017-07-05T17:51:59Z No. of bitstreams: 1 marinaleitegoncalves.pdf: 6947050 bytes, checksum: 940473d329e598d37a0d1ed97ca9202a (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-08-08T14:43:15Z (GMT) No. of bitstreams: 1 marinaleitegoncalves.pdf: 6947050 bytes, checksum: 940473d329e598d37a0d1ed97ca9202a (MD5) / Made available in DSpace on 2017-08-08T14:43:15Z (GMT). No. of bitstreams: 1 marinaleitegoncalves.pdf: 6947050 bytes, checksum: 940473d329e598d37a0d1ed97ca9202a (MD5) Previous issue date: 2017-05-26 / A tese, inspirada nos pressupostos da cultura da convergência, que apaga as fronteiras entre novas e velhas mídias, arte e entretenimento, entretenimento e educação, cultura oficial e subcultura, busca investigar a emergência das práticas textuais do meio online em diálogo com o clássico machadiano. A travessia da literatura de Machado para as plataformas da Web 2.0. aponta para o desafio do leitor atual ter acesso a ela em várias encarnações midiáticas, que fogem aos modelos anteriores de adaptação. Dessa forma, nosso foco de análise recai sobre formas menos tradicionais de releituras do texto literário (twitterfiction, fanfiction, websérie, telessérie, simulação de facebook, desenhos de animação). Nossa hipótese de trabalho se pauta em que o efeito das mídias e os gêneros da cultura digital configuram novas interfaces para a adaptação do literário e para as práticas docentes da literatura no momento atual. Este trabalho une, assim, perspectivas crítico/teóricas para os estudos da adaptação, no cenário da convergência midiática, relacionadas às possibilidades que o meio digital, suas tecnologias, bem como a cultura participativa que nele se constitui, oferecem para as práticas dos múltiplos letramentos – literário e digital – no ciberespaço. / This doctoral dissertation, inspired by the assumptions of converge culture which blurs the frontiers between new and old media, art and entertainment, entertainment and education, high and low culture, aims at investigating the emergence of online textual interventions related to the Machadian classic. The dislocation of Machado’s literature to the platforms of Web 2.0 signals for the current reader’s challenge to have access to this output under various mediatic circunstances which keep certain distance from previous models of adaptation. Therefore, the focus of our analysis lies upon less traditional rereadings of the literary text (twitterfiction, fanfiction, web series, tv series, facebook simulation, animated cartoons). Our hypothesis is based on the power of the media and the digital culture genres to configure new interfaces for the literary adaptation as well as the literature teaching practices in the present time. Thus, this work unites critical/theoretical perspectives for the studies of adaptation in the context of media convergence related to the possibilities that the digital space, its technologies and the participative culture from which it emerges, offer for the multiple literacy procedures – literary and digital – in cyberspace.

Jag har studerat transmedia, dess innebörd och vad som utmärker den. Fokuserat på den delen som heter World Building Story och tagit fram några exempel på World Building Franchises. Genom att undersöka olika transmedia franchises och hur deras värld är uppbyggt. Med denna kunskap har jag skapat en egen värld i en World Building Story. Den är baserad från konstnären Simon Stålenhags retrofuturistiskt konst. Världen ska visas i en form av Comic Book och vara designad av Critical Design där läsaren får möjligheten att tolka budskapet. Det som jag har kommit fram till i undersökningen är hur man skapar en berättelse. / I have study transmedia and see what transmedia does. I have focus on element in transmedia call World Building story. What is warbling story is something I have studied and watch some World Building franchise say how they are different from each other. Three different World Building a franchise to see  how to build our world. With it knowledge I will create my Own World Building Story. The world the i certion  is inspired by Simon Stålhagen Retrofuturistisk art. The way I show this world with Comic Book. My Comic Book is design from Critical Design that are a small police messages. Me study is to show that transmedia be found over the world and get young people to be in the same be interested in Retrofuturistiskt art. Also is a good way to me to learn how to tell a story and create a world with this studying.