Dans le contexte actuel de globalisation et de développement des nouvelles technologies, notamment internet, les modes d’appropriation des œuvres culturelles sont devenus de plus en plus faciles mais aussi variés et complexes. Cette thèse traite des modes d’appropriation des films français en Chine, et étudie trois terrains de recherche : les sous-forums des films Le Fabuleux destin d’Amélie Poulain et de La grande vadrouille sur Tieba et le sous-forum des Cahiers du cinéma sur Douban. Nous avons étudié deux types principaux des passionnés culturels : fan et amateur. Le premier est souvent lié aux films grand public. Les fans manifestent une série de caractéristiques dans l’appropriation des films : l’engouement pour leur objet culte, le désir de partager et de communiquer, créativité, collectivité, etc. Le film peut intervenir directement dans leur vie quotidienne à travers l’imitation et la copie des éléments ou des personages. Lorsqu’on parle des films d’auteur, nous avons trouvé que le terme « amateur » est plus approprié pour déterminer leurs publics. Ils déclarent souvent leur admiration d’une manière plus ‘discrète’. Ils s’intéressent souvent plus aux idées des réalisateurs ou aux techniques de la production du film qu’aux acteurs ou personnages du films et possèdent généralement de bonnes connaissances dans le domaine culturel. Voir les films d’auteur est aussi un moyen pour eux d’accumuler les capitaux culturels. Les deux postures ne sont pas conflictuelles. Certains amateurs construisent aussi des communauté et cherchent à partager et communiquer avec les gens qui ont les mêmes passions qu’eux. Cette complexité est encore plus évidente dans le cadre international. D’un certain point de vue, le visionnement des films français est devenu un acte distinctif pour certains publics chinois. Et l’appropriation des films français peut satisfaire un désir d’être plus ‘cultivés’. Ce travail vise à ouvrir de nouvelles perspectives dans les recherches sur l’appropriation des oeuvres culturelles. / In the current context of globalization and the development of new technologies, especially the internet, the modes of appropriation of cultural works have become easier but also more varied and complex. This thesis discusses the modes of appropriation of french films in China by studying on three areas of research: the subforums of Le fabuleux destin d'Amelie Poulain and La grande vadrouille on Tieba, and the subforum of Cahiers du cinema on Douban. We studied two main types of cultural enthusiasts: fan and amateur. The first is often linked to the popular films. The fans show a series of characteristics in the appropriation of movies: the passion for their cult object, the desire to share and communicate creativity, community, etc. The film can be directly involved in their daily lives through the imitation of elements or personages in the film. When we talk about “auteur cinema”, we found that the term "amateur" is more appropriate to determine their audiences. They often express their admiration in a more discrete way. For example, they are often more interested in the ideas of directors or the technical of production of the films than in the actors or characters. They usually have good knowledge in the cultural field: literature, film or art. Seeing the “auteur movies” is also a way for them to accumulate cultural capital. However, the two positions are not in conflict. Some ‘amateurs” also show a community which is manifested in their collective communications. This complexity is even more evident in the international background. In some ways, viewing the french movies has become a distinctive act for certain chinese audiences. So the appropriation of french films satisfy a desire to be more 'cultivated'. This work aims to open up some new perspectives in the research on the appropriation of cultural works.

I takt med den digitala revolutionen som musikindustrin genomgått, har frågor angående hur musikfans online blir lojala mot artister framgått och skapat ämne för diskussion. Syftet med denna uppsats är att utveckla en djupare förståelse för hur musikfans online skapar varumärkeslojalitet genom gemensamt engagemang. Studien har genomförts utifrån en kvalitativ metod med en abduktiv forskningsansats. Nio kvalitativa intervjuer samt en fokusgrupp innehållande sju deltagare har genomförts för att ge svar på forskningsfrågorna. Utifrån studiens empiri och analys kunde det fastställas huruvida musikfans är en betydande faktor i marknadsföringen av en artist. Analysen kommer även fram till huruvida musikfans existerar samt beter sig i en online miljö. Studien visar att musikfans genom gemensamma engagemang kan skapa och stärka varumärkeslojalitet. Vilka faktorer som påverkar musikfans interaktioner som leder till engagemang diskuteras i mer detalj i den avslutande slutsatsen. / The rise of social media has given birth to new marketing means and in the music industry different ways to make fans engage with artist content. Thus, marketers are in need to understand the new way fans engage with artists and other fans. The purpose of this study is to examine how music fans online engage with other fans and how this correlates to the creation of brand loyalty towards artists. The study aims to provide new insight from brands and marketers in how they can improve their strategies towards the creation of brand loyalty. The study's empirical data is based on single interviews and a focus group which have been based on qualitative methods. The study indicates that music fans play an important role in how an artist's music is distributed and engaged with. Furthermore, the findings show a correlation between music fans engagement with other music fans and the creation of loyalty towards an artist. Finally the study shows ways a fan is created and what method could be used for future researchers on the subject. We propose that further research needs to be conducted where more specific fan groups are examined as well as how interactions and engagement differs between generations.

This study aims to examine how Swedish fans of the TV-series Skam use the Facebook group Kosegruppa Sverige in order to construct and maintain a fandom, and how fan practices can contribute in creating identity among the members of the group. Theories related to fan research, discourse psychology and intersectionality were applied, as well as a brief overview of earlier research results related to these areas. By using a netnographic approach combined with a discourse analyses, posts made by fans on Kosegruppa Sverige during December 2016 were examined and analyzed. Three main fan practices were found to be used in constructing fandom in the group; fans made their own material such as edits, videos and attire that had a connection to the narrative, they acted out on their fandom both by adapting their language and looks, and finally by buying and selling merchandise and thus collecting things related to the series. Identity was created through intersectional perspectives of gender, sexuality and age. Finally, the study concluded that fandom could be seen as an integral tool within media production, which blurs the line between producers and consumers.

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Este trabalho tem como objetivo abordar a presença da cultura pop nipo-brasileira nos meios digitais através de expressões culturais dos fãs brasileiros de mangás e animês (histórias em quadrinhos e animações japonesas, respectivamente), moda e prática cosplay, cujos conteúdos são compartilhados na internet. Desde sua inserção no Brasil, a cultura pop japonesa esteve relacionada às tecnologias de comunicação e às atividades de fãs brasileiros engajados com aquilo que consumiam. A passagem para as mídias digitais provocou mudanças nas configurações socioculturais, em que o indivíduo participa ativamente na rede, desenvolvendo maneiras distintas de uso e apropriações desses ambientes, o que consequentemente expande o campo de atuação dos fãs. Esses são considerados indivíduos que não apenas se contentam com o que recebem (apropriação passiva); mas, de maneira participativa, produzem conteúdos a respeito do universo ficcional de que são entusiastas. Este trabalho teve como processos metodológicos o estudo exploratório fundamentado em pesquisa bibliográfica dos conceitos relacionados aos avanços das tecnologias de informação e comunicação e os espaços emergentes da rede, transmídia, convergência e participação, bem como a conceitualização das expressões da cultura pop nipo-brasileira que figuram como objeto de estudo desta pesquisa. Utilizou-se também de observação do campo para levantamento de casos mais recentes de projeção das atividades do público da cultura pop japonesa no Brasil no cenário digital. Assim, diante deste cenário, considerou-se que, embora problemáticos para o âmbito da Ciência da Informação, os novos processos de comunicação e mediação cultural no cenário digital devem ser repensados, uma vez que são processos essenciais para o exercício das apropriações de expressões culturais de usuários na rede. Trabalhar em favor do acesso, produção, circulação e qualidade dessas expressões traz o sentido de pertencimento de um grupo, chave para a constituição da cultura nipo-brasileira. / The main object of this research is to show the presence of Nipo-Brazilian pop culture in digital media through cultural expressions by the Brazilian fans of manga and anime (Japanese comics and animation, respectively), fashion and cosplay practice that are shared over the internet. Since its insertion in Brazil, Japanese pop culture was related to communication technologies and to the activities of Brazilian fans that were engaged with what they consumed. Digital media produced changes in social configurations, in a way that the individual has an active role on the web, developing different ways of using and appropriating such environments, and that, consequently, expands the fans\' field of action. These are individuals that not only do not feel satisfied with what they receive (passive appropriation); in a participative manner, they produce content based on their favorite fictional universes. As a methodological approach, this work adopted an exploratory method, based on bibliographic research of the concepts related to the advancements of information and communication technologies and the emerging spaces on the web, transmedia, convergence and participation, as well as the conceptualization of Nipo-Brazilian culture\'s expressions that are the subject of this research. An observational method was also adopted to show the most recent occurrences of the prominence of the Nipo-Brazilian pop culture public in the digital scenario. This way, in face of such scenario, we considered that, although they raise problems in the area of Information Sciences, the new communication and cultural mediation processes in the digital scenario must be rethinked, since they are essential processes for the appropriation of web users\' cultural expressions. Working to promote access, production, flow and quality of such expressions brings a sense of belonging to a group, the key to the constitution of Nipo-Brazilian culture.

Este trabalho tem como objetivo abordar a presença da cultura pop nipo-brasileira nos meios digitais através de expressões culturais dos fãs brasileiros de mangás e animês (histórias em quadrinhos e animações japonesas, respectivamente), moda e prática cosplay, cujos conteúdos são compartilhados na internet. Desde sua inserção no Brasil, a cultura pop japonesa esteve relacionada às tecnologias de comunicação e às atividades de fãs brasileiros engajados com aquilo que consumiam. A passagem para as mídias digitais provocou mudanças nas configurações socioculturais, em que o indivíduo participa ativamente na rede, desenvolvendo maneiras distintas de uso e apropriações desses ambientes, o que consequentemente expande o campo de atuação dos fãs. Esses são considerados indivíduos que não apenas se contentam com o que recebem (apropriação passiva); mas, de maneira participativa, produzem conteúdos a respeito do universo ficcional de que são entusiastas. Este trabalho teve como processos metodológicos o estudo exploratório fundamentado em pesquisa bibliográfica dos conceitos relacionados aos avanços das tecnologias de informação e comunicação e os espaços emergentes da rede, transmídia, convergência e participação, bem como a conceitualização das expressões da cultura pop nipo-brasileira que figuram como objeto de estudo desta pesquisa. Utilizou-se também de observação do campo para levantamento de casos mais recentes de projeção das atividades do público da cultura pop japonesa no Brasil no cenário digital. Assim, diante deste cenário, considerou-se que, embora problemáticos para o âmbito da Ciência da Informação, os novos processos de comunicação e mediação cultural no cenário digital devem ser repensados, uma vez que são processos essenciais para o exercício das apropriações de expressões culturais de usuários na rede. Trabalhar em favor do acesso, produção, circulação e qualidade dessas expressões traz o sentido de pertencimento de um grupo, chave para a constituição da cultura nipo-brasileira. / The main object of this research is to show the presence of Nipo-Brazilian pop culture in digital media through cultural expressions by the Brazilian fans of manga and anime (Japanese comics and animation, respectively), fashion and cosplay practice that are shared over the internet. Since its insertion in Brazil, Japanese pop culture was related to communication technologies and to the activities of Brazilian fans that were engaged with what they consumed. Digital media produced changes in social configurations, in a way that the individual has an active role on the web, developing different ways of using and appropriating such environments, and that, consequently, expands the fans\' field of action. These are individuals that not only do not feel satisfied with what they receive (passive appropriation); in a participative manner, they produce content based on their favorite fictional universes. As a methodological approach, this work adopted an exploratory method, based on bibliographic research of the concepts related to the advancements of information and communication technologies and the emerging spaces on the web, transmedia, convergence and participation, as well as the conceptualization of Nipo-Brazilian culture\'s expressions that are the subject of this research. An observational method was also adopted to show the most recent occurrences of the prominence of the Nipo-Brazilian pop culture public in the digital scenario. This way, in face of such scenario, we considered that, although they raise problems in the area of Information Sciences, the new communication and cultural mediation processes in the digital scenario must be rethinked, since they are essential processes for the appropriation of web users\' cultural expressions. Working to promote access, production, flow and quality of such expressions brings a sense of belonging to a group, the key to the constitution of Nipo-Brazilian culture.

This paper is an inventory of the general motivations of Swedish film tourists. The paper is based on a quantitative research survey to gain insight from Swedish film tourists in the matter of what it is in movies that are motivating them to travel. The motivations behind film tourists visiting film destinations in a qualitative perspective, are storytelling, authenticity, film tourists gaze and fandom. By travelling to film destinations tourists takes part of magical tourism experiences. The paper has a deductive view point to the subject of film tourists and the results from the survey are collected from communities on Facebook called Harry Potter-fans in Sweden, Star Wars Sweden and The lord of the ring-fans in Sweden. The result from the survey shows that Swedish film tourists from these communities are motivated by the terms of storytelling, authenticity, film tourists gaze and fandom and that they are all experiencing something extraordinary when they travel because of movies. The motivations are also the foundation and the general aspect of travelling to film destinations, which either push or pull the film tourists towards the film destinations.

The aim for this study is to investigate how the website archiveofourown.org dedicates itself to archiving and organizing fanfiction. This study aims to find answers for how archiveofourown makes fanfiction accessible for the fanfiction community, both in the present time and in its function as an archive. Building from Derrida's thoughts about how power control what is archived and therefore the exclusion from archives is a threat to de-mocracy. Paired with the idea from De Kosnik about fanfiction archives archiving a part of media that does not exist this essay will argue for the importance of the free-form tagging of meta-data in correlation to user-uploaded fanfiction on www.archiveofourown.org and the archiving of said meta-data as well as fanfiction. The thesis also discusses the importance for fandom-community to own their archives due to censorship and accessibility. In this thesis the concept of gender as a performative discourse is important to the understanding of women's labour in fanfiction communities.Material for this study have been gathered from the website archiveofourown.org during the spring of 2020. By doing a close reading of the material published by the site and the users the study presents how the tagging sys-tem works and analyses the findings with help of previous research. The results of this study show that the free form tagging system of metadata is important for the fanfiction community. By allowing this form of tagging the culture of the online space can be preserved. This study finds that most producers and consumers of fanfic-tion identify as female, and therefore argues that the use of volunteer work on a site with material by and for female is problematic due to the issue that feminine coded values, like organizing and flexibility, suggests that the work is less technical and such less masculine than it would otherwise be perceived.According to the findings of this study the tagging systems of metadata has an important part in preserving internet history of those that may not have it preserved otherwise. It is also preserving part of other internet cultures such as the tagging culture on websites like tumblr.com. This is a two-year master's thesis in archival science. The aim for this study is to investigate how the website archiveofourown.org dedicates itself to archiving and organizing fanfiction. This study aims to find answers for how archiveofourown makes fanfiction accessible for the fanfiction community, both in the present time and in its function as an archive. Building from Derrida’s thoughts about how power control what is archived and therefore the exclusion from archives is a threat to democracy. Paired with the idea from De Kosnik about fanfiction archives archiving a part of media that does not exist this essay will argue for the importance of the free-form tagging of meta-data in correlation to user-uploaded fanfiction on www.archiveofourown.org and the archiving of said meta-data as well as fanfiction. The thesis also discusses the importance for fandom-community to own their archives due to censorship and accessibility. In this thesis the concept of gender as a performative discourse is important to the understanding of women’s labour in fanfiction communities. Material for this study have been gathered from the website archiveofourown.org during the spring of 2020. By doing a close reading of the material published by the site and the users the study presents how the tagging system works and analyses the findings with help of previous research. The results of this study show that the free form tagging system of metadata is important for the fanfiction community. By allowing this form of tagging the culture of the online space can be preserved. This study finds that most producers and consumers of fanfiction identify as female, and therefore argues that the use of volunteer work on a site with material by and for female is problematic due to the issue that feminine coded values, like organizing and flexibility, suggests that the work is less technical and such less masculine than it would otherwise be perceived. According to the findings of this study the tagging systems of metadata has an important part in preserving internet history of those that may not have it preserved otherwise. It is also preserving part of other internet cultures such as the tagging culture on websites like tumblr.com. This is a two-year master’s thesis in archival science.

Finding something sacred in secular society is a relatively new field of religious studies. This thesis aims to find the secular sacred amongst Star Wars fans on the blogging platform Tumblr, in relation to Kim Knott and her theory of the secular sacred. I collected and studied 100 blog posts about Star Wars, specifically about one of its main characters, Rey. The research questions used were “How do fans of Star Wars and Rey express themselves on Tumblr?”, and “Could it be seen as sacred according to Kim Knott´s theory of secular sacred?” I analyzed the material with a hermeneutic approach, and using Kim Knott’s theory, I categorized the posts in to three categories: sacred, appreciative and sacrilegious. Even though the appreciative category was by far the largest, the results showed that a fifth of all the blog posts could be perceived as having content that could be seen as sacred to its poster. I came to the conclusion that my study supports the theory of sacredness not being exclusive to religious society, but can be found in the secular as well.

Research often frames the relationship between sports and the city in terms of economics as researchers debate the costs and benefits of using public subsidies to build stadiums, retain professional teams and host mega-events. However, people assign symbolic or intangible values to their home sports teams that cannot be measured through economic frameworks. My research examined the ways in which urban residents create value around their home professional sports team that other researchers dismissed as hard to measure. Using the New Orleans Saints as a case study, this research incorporated interviews, questionnaires, content analysis and participant observation to provide greater access to the meanings people associate with the experience of being a Saints fan. After Hurricane Katrina devastated New Orleans in 2005, Saints fans used their team to build a narrative of renewal and deliver messages about city recovery. These meaningful local narratives reinforced a feeling of connectedness to the city and created collective identities among diverse urban residents. The Who Dat Nation created a sense of fandom that existed outside the confines of the publicly funded stadium on game day as people encountered indicators of Saints fandom through everyday lived experiences. Through shared experiences surrounding Saints football, fans fostered public sociability and meaningful relationships across social differences. In addition, the findings outline ways in which locals embraced NFL hype and the commodification of professional football while also engineering local cultural adaptations to the economic dimensions of sport. Through the story of the Saints in New Orleans, we can see sport spaces as a combination of symbolism and practice where sporting and urban affiliations are interrelated in complex ways through the construction of identity, culture, and commercialism. This dissertation presents spaces of sports fandom as places of empowerment to challenge, renegotiate, and rethink difference where sport spaces embody constructions of race, urban place, gender and identity. This study shows how spaces of sport fandom can be spaces to negotiate a sense of community identity and foster repetitive civil interactions. This provokes discussion on the extent to which sport fan activities influence changes in social interaction across race and gender differences.