The aim of this study was to investigate in what way content marketing can be understood through podcasts as an alternative marketing tool. The material which the study was based on is Ölpodden, a podcast initiated by Carlsberg Sweden. The study intended to shed light on the interdiscursivity that emerges when brands are communicated through podcasts. Another aim was to understand how relationships and identities are constructed through the podcast by examining its intended audience. In order to achieve this a critical discourse analysis was used as both underlining theory and comprehensive method. The critical discourse analysis was also supplemented with two theorists witch highlights the audience’s construction of identity. The consumer's thoughts on Ölpodden was of importance to illustrate the convergence culture and the consumption of the podcast. Qualitative interviews were therefore used as a supplement to the critical discourse analysis. The purpose for the study was to contribute to an increased understanding of content marketing and a deeper knowledge of the communicative strategies it is based on. This purpose led to two main research questions containing two subquestions each. The first main question and subqueries were to answer on: How the discourse in Ölpodden could be understood and problematized in relation to convergence, commercialization and consumption culture, which the intended audience are and how groups and identities are created through the discourse. The other main question and subqueries were to answer on: How the discourse could be understood and problematized from a user perspective, in what way the discourse has impact on the listeners subjectivity and objectivity and how the recipients statements answers to a convergence culture. The result of the study indicates that the interdiscursivity in Ölpodden contains an entertainment discourse, a information discourse and a promotional discourse. Through these discourses the podcast aims to give beer a higher status in society. The podcast also creates an identity which the listener is expected to want to fit into. In the quest to fit into this identity individual's consumption patterns can change. Which ultimately would lead to increased gain for large concerns such as Carlsberg.

Submitted by Clebson Anjos (clebson.leandro54@gmail.com) on 2016-02-17T18:27:46Z No. of bitstreams: 1 arquivototal.pdf: 3132190 bytes, checksum: 7e00b90467562b4503c163aaa492c1e3 (MD5) / Made available in DSpace on 2016-02-17T18:27:46Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 3132190 bytes, checksum: 7e00b90467562b4503c163aaa492c1e3 (MD5) Previous issue date: 2013-06-21 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / From orality to mediation, narratives are surrounded by reconfiguration. The popularization of the use of computers and their post-mass functions has enhanced the ways of telling stories, bringing a communication system apparently horizontal when stories are told in environments that elevate the status of spectator to interactor. In a convergence era, these stories leave behind the narrative in a single media and become counted in a transmedia system, creating a fictional and immersive universe for viewers to interact. On one side you can see behind the scenes, the other side is the public. In the middle, a mirror that blurs fact from fiction. This text intends to resume atheoretical discussionof empirical situations on the concept of transmedia instituted by Henry Jenkins between 2000 and 2011. This discussion appears relevant from the time that new aspects of the concept become popular, and especially while new objects bring strange situations to the phenomenon, such as the national series Alice, produced and aired by HBO Latin America. Alice brings the discussion to production transmedia in Brazil, but highlights a peculiarity: the characters do not only exist on television and in social networks (Orkut, Twitter, Facebook), but also began to inhabit the everyday, the urban space, going to events and creating situations that functioned as unfolding of the events of the episodes, bringing new aspects to the concept of transmedia that Max Giovagnolli (2011) shall call "urban actions”. We question the television as this “mirror”, within this new narrative system and communication functions, and try to understand what new in bringing viewers to the center of this media. / Da oralidade à mediação, as narrativas passaram por momentos de reconfiguração constante. A popularização do uso dos computadores e de suas funções pós-massivas tem possibilitado novas instâncias às formas de se contar histórias, colocando em prática um sistema de comunicação aparentemente horizontal quando histórias são contadas em ambientes que elevam o status de espectador a interator. Em uma situação de convergência, estas histórias deixam para trás a narrativa em uma única mídia e passam a ser contadas de forma transmidiática, criando um universo fictício e imersivo para os espectadores interagirem. De um lado, os bastidores, do outro lado, o público. No meio, um espelho que não permite distinguir realidade de ficção. Este texto pretende retomar uma reflexão teórica através de situações empíricas sobre o conceito que promove estes embaralhamentos, o de narrativa transmidiática, instituído por Henry Jenkins entre 2000 e 2011. Esta discussão se mostra pertinente a partir do momento que novas vertentes do conceito se popularizam e, principalmente, novo objetos trazem situações ainda estranhas ao fenômeno, como a série nacional Alice, produzida e exibida pelo canal HBO Latin America. Alice traz a discussão para a produção nacional transmidiática e destaca uma particularidade: os personagens não só existiam na televisão e nas redes sociais (Orkut, Twitter, Facebook), como também “atravessaram o espelho” e passaram a habitar o cotidiano, indo a eventos e criando situações que funcionavam como desdobramentos dos acontecimentos dos episódios, trazendo novas situações para o conceito de transmídia, que Max Giovagnolli (2011) passa a chamar de “ações urbanas”. Questionamos então a televisão no lugar deste “espelho”, dentro deste novo sistema narrativo e comunicacional e tentamos entender quais funções o novo local de espectadores dentro desta mídia traz para a comunicação.

Syftet med denna uppsats är att undersöka hur berättarteknik i tv-spel skulle kunna undervisas om på gymnasienivå. Hur teoretiserar vi det mediespecifikt narrativa i tv-spel, det vill säga hur spelmekaniken i sig förmedlar en narrativ upplevelse, och hur kan denna teoretisering i sin tur anpassas för undervisning? För detta ändamål analyseras här tv-spelet Portal med hjälp av den teori om tv-spelsnarrativ som Henry Jenkins lägger fram i ”Game Design as Narrative Architecture” (2004), där han särskiljer fyra sätt som tv-spel förmedlar berättelser genom sin spatiala design: suggestiva rum, utagerade berättelser, inlemmat narrativ, framväxande narrativ. Analysen finner att berättandet i Portal främst uppvisar drag av kategorierna utagerade berättelser, inlemmat narrativ och suggestiva rum och i diskussionen framkommer det att nackdelen med Jenkins teori är att dessa tre kategorier egentligen borde anses vara varianter av samma kategori, utagerade berättelser, fast med olika betoning. I den didaktiska diskussionen framkommer det avslutningsvis att ett sätt att undvika denna begreppsförvirring och därtill anpassa teorin för gymnasieundervisning i svenskämnet är att ersätta detta begreppspar med hård och mjuk karaktärisering, där hård karaktärisering innebär att spelarkaraktären definieras tydligt i förväg och mjuk karaktärisering innebär att spelaren själv inbjuds att definiera spelarkaraktären.

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I mitten av 1990-talet närmare bestämt 1996 gjordes en film kallad Diary of a Camper. Filmen handlade om en person som satt och lurpassade på sina fiender i ett datorspel. Det som var speciellt med denna film var inte handlingen eller något fantastiskt kameraarbete. Nej det som var speciellt var det faktum att filmen spelades in i ett datorspel. Denna film anses vara startskottet för machinimakulturen som idag omfattar flera tusen utövare världen över.Det var personerna bakom Diary of a camper som myntade uttrycket machinima som är en sammanslagning av de engelska orden ”machine” och ”animation” alltså maskin och animation. Det finns en annan tolkning där ordets andra stavelse är ”cinema” istället för ”animation” men den officiella ska vara det tidigare. Vad än ordet machinima är ihopsatt av är det en filmteknik där kreatören eller producenten spelar in sin historia i ett TV- eller datorspel. I denna uppsats tittar vi närmare på machinimakulturen och vad för regler, attityder och förhållningssätt som finns i denna tilldags dato, anno 2010, något outforskade arena.