Med utgångspunkt i begreppet ”Art Worlds” diskuterar den här uppsatsen fanart och deltagandekultur som fenomen, och ser hur denna konstinriktning går att foga samman med andra konstvärldar. / Based on the theory of ”Art Worlds”, this thesis presents a discussion on the concepts of fanart and participatory culture, and seeks a way in which to merge the world of the fans with other art worlds.

The purpose of this study is to investigate how secondary school media educators might best meet the needs of students who prefer practical production work to ‘theory’ work in media studies classrooms. This is a significant problem for a curriculum area that claims to develop students’ media literacies by providing them with critical frameworks and a metalanguage for thinking about the media. It is a problem that seems to have become more urgent with the availability of new media technologies and forms like video games. The study is located in the field of media education, which tends to draw on structuralist understandings of the relationships between young people and media and suggests that students can be empowered to resist media’s persuasive discourses. Recent theoretical developments suggest too little emphasis has been placed on the participatory aspects of young people playing with, creating and gaining pleasure from media. This study contributes to this ‘participatory’ approach by bringing post structuralist perspectives to the field, which have been absent from studies of secondary school media education. I suggest theories of media learning must take account of the ongoing formation of students’ subjectivities as they negotiate social, cultural and educational norms. Michel Foucault’s theory of ‘technologies of the self’ and Judith Butler’s theories of performativity and recognition are used to develop an argument that media learning occurs in the context of students negotiating various ‘ethical systems’ as they establish their social viability through achieving recognition within communities of practice. The concept of ‘ethical systems’ has been developed for this study by drawing on Foucault’s theories of discourse and ‘truth regimes’ and Butler’s updating of Althusser’s theory of interpellation. This post structuralist approach makes it possible to investigate the ways in which students productively repeat and vary norms to creatively ‘do’ and ‘undo’ the various media learning activities with which they are required to engage. The study focuses on a group of year ten students in an all boys’ Catholic urban school in Australia who undertook learning about video games in a three-week intensive ‘immersion’ program. The analysis examines the ethical systems operating in the classroom, including formal systems of schooling, informal systems of popular cultural practice and systems of masculinity. It also examines the students’ use of semiotic resources to repeat and/or vary norms while reflecting on, discussing, designing and producing video games. The key findings of the study are that students are motivated to learn technology skills and production processes rather than ‘theory’ work. This motivation stems from the students’ desire to become recognisable in communities of technological and masculine practice. However, student agency is not only possible through critical responses to media, but through performative variation of norms through creative ethical practices as students participate with new media technologies. Therefore, the opportunities exist for media educators to create the conditions for variation of norms through production activities. The study offers several implications for media education theory and practice including: the productive possibilities of post structuralism for informing ways of doing media education; the importance of media teachers having the autonomy to creatively plan curriculum; the advantages of media and technology teachers collaborating to draw on a broad range of resources to develop curriculum; the benefits of placing more emphasis on students’ creative uses of media; and the advantages of blending formal classroom approaches to media education with less formal out of school experiences.

Submitted by Camila Fernandes de Oliveira null (oliveirafcamila@gmail.com) on 2016-10-01T04:04:15Z No. of bitstreams: 1 OLIVEIRA, CF - Práticas Participativas.pdf: 3313660 bytes, checksum: 78283fa789dea7bee80eb8580a83d3eb (MD5) / Approved for entry into archive by Ana Paula Grisoto (grisotoana@reitoria.unesp.br) on 2016-10-05T14:35:56Z (GMT) No. of bitstreams: 1 oliveira_cf_me_bauru.pdf: 3313660 bytes, checksum: 78283fa789dea7bee80eb8580a83d3eb (MD5) / Made available in DSpace on 2016-10-05T14:35:56Z (GMT). No. of bitstreams: 1 oliveira_cf_me_bauru.pdf: 3313660 bytes, checksum: 78283fa789dea7bee80eb8580a83d3eb (MD5) Previous issue date: 2016-08-18 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Com a popularização da internet, a maneira que a sociedade se organiza foi alterada, incluindo a facilidade – e a velocidade – com que acessam informações, a possibilidade de se relacionar com outros membros do público e a oportunidade de criar releituras dos textos originais. Com o objetivo de identificar como os fãs constituem uma esfera de consumo de mídia ativo, foi escolhido como objeto o fansite brasileiro Potterish dedicado a Harry Potter. Utilizando a análise de conteúdo como metodologia, este trabalho considera sua estrutura e os trabalhos de fãs apresentados no fansite, as publicações da seção de notícias no último trimestre de 2015, os textos da seção de colunas com interpretações sobre a obra publicados em 2014 e 2015 e a cobertura realizada nos perfis do Potterish no Twitter e no Facebook sobre o anúncio do lançamento em livro do roteiro da peça Harry Potter and the Cursed Child. Este trabalho se apoia no referencial teórico produzido pelos estudos de fãs, com destaque aos autores Booth, Duffett, Fiske, Jenkins e Hills, além de autores que colaboram para a compreensão da sociedade contemporânea, como Thompson e Canclini. Os resultados da pesquisa mostraram que a estrutura do fansite representa principalmente os prazeres de performance de Duffett (2013), relacionados às atividades cuja proposta é experienciar o fandom, a seleção de notícia reúne informações em português sobre as novidades relacionadas à franquia, as colunas do Potterish se destacam pelas interpretações da história não explícitas nos livros e a atividade do Potterish nas redes sociais apresenta coerência de linguagem e maior interação com os fãs do que o próprio site. O fansite se apresenta como um facilitador do acesso à informação para os fãs ao traduzir o que é publicado em outro idioma, compartilhar com os outros fãs e organizar de maneira que os usuários do site sejam capazes de se atualizar sobre o objeto de seu fandom. / The popularization of the Internet changed the way society is organized, including the ease - and speed – to access information, the ability to relate to other members of the public and the opportunity to create new readings of the original texts. In order to identify how the fans are an active media consumption sphere, the Brazilian fan site Potterish dedicated to Harry Potter was chosen as the object of this research. Using the content analysis as a methodology, this paper considers the structure of Potterish and the fanworks presented on the fan site, the news section publications in the last quarter of 2015, the texts of the columns section with interpretations of the story published in 2014 and 2015 and coverage held on Potterish profiles on Twitter and Facebook about the announcement of the publishing of the play Harry Potter and the Cursed Child. This work is based on the theoretical framework produced by fans studies, especially the authors Booth, Duffett, Fiske, Hills and Jenkins, and the authors that contribute to the understanding of contemporary society, as Thompson and Canclini. Research results showed that the fan site structure mainly represents the pleasures of performance of Duffett (2013), related to the activities whose purpose is to experience the fandom, the news selection gathers information in Portuguese about what is new related to the franchise, the columns of the Potterish are highlighted by interpretations of the story that is not explicit in the books and the activity of Potterish on social networks websites shows language consistency and greater interaction with the fans than the site itself.

Submitted by Marina Paula Darcie null (marina_paula_darcie@hotmail.com) on 2017-11-30T01:55:25Z No. of bitstreams: 1 DARCIE, Marina. As fãs mais legais do mundo.pdf: 3247432 bytes, checksum: e07f086206f03adb6b500f28d71aeaf1 (MD5) / Approved for entry into archive by Minervina Teixeira Lopes null (vina_lopes@bauru.unesp.br) on 2017-11-30T12:44:56Z (GMT) No. of bitstreams: 1 darcie_mp_me_bauru.pdf: 3193730 bytes, checksum: 62051113a246b7aae327dd1828c9b831 (MD5) / Made available in DSpace on 2017-11-30T12:44:56Z (GMT). No. of bitstreams: 1 darcie_mp_me_bauru.pdf: 3193730 bytes, checksum: 62051113a246b7aae327dd1828c9b831 (MD5) Previous issue date: 2017-10-31 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Diversas possibilidades surgem com a internet a cada dia, e uma delas é a grande teia de interações e o advento de novos personagens no sistema comunicativo que detêm, de forma tão semelhante quanto nos veículos de comunicação tradicionais, o poder de influenciar e modificar a opinião do seu público. Esses novos comunicadores são os “ídolos” sociais que estão ancorados nas novas plataformas de comunicação e possuem discurso amplamente difundido no seu meio de atuação. O influenciador não é limitado a apenas uma ferramenta de trabalho, ele pode estar – e geralmente está – presente em outras redes, produzindo conteúdo para o blog, o YouTube e para o Instagram, mostrando sua rotina no Snapchat, conversando com seus fãs pelo Facebook e pelo Twitter, evidenciando a fluidez da comunicação digital. Nesse sentido, a imagem dos influenciadores digitais pode ser definida como um personagem que usa o espaço comunicativo virtual possibilitado pelas redes sociais para dialogar com seu público seguidor e expor sua opinião sobre o próprio consumo e experiências ou qualquer assunto que tenha afinidade; esse autogerenciamento de imagem – configurado em uma narrativa de si mesmo – e o contato imediato e negociação constante com seu público faz desses personagens uma mídia completa, sem a necessidade de uma indústria para ampará-lo. As novas ferramentas que possibilitam a comunicação instantânea e direta criaram, assim, novas dimensões para a relação e as interações entre ídolo-fã. Nesse contexto destacado, foram investigados os vínculos comunicativos criados pelos fãs através de suas sociabilidades na rede, entendendo o conceito de fã e analisando a bibliografia de referência para compreender se as definições dialogam com a realidade das redes digitais e dos agrupamentos da rede na sociedade contemporânea. A comunidade de fãs da influenciadora Karol Pinheiro e o universo comunicativo criado por ela (“As coisas mais legais do Mundo”) foram escolhidos para a construção da pesquisa empírica e da análise, uma vez que o grupo se mobiliza através da internet e das redes sociais para discutir, ressignificar e repercutir o conteúdo criado pela celebridade virtual. A pesquisa objetivou compreender os múltiplos processos comunicativos evidenciados através dos conteúdos que consomem, como se mobilizam e dialogam, quais as ressignificações feitas no conteúdo original, e quais redes usam para se informar e “habitar”, conhecendo, assim, práticas comunicativas que os fãs online utilizam. / Internet creates a lot of possibilities every day. One of them is the communities created around new characters in web that keep it together and influences its people: the digital influencers (DI). The digital influencer use a lot of many tools of the internet for work and are not present only in one media; the DI usually uses the blogs for posting texts, YouTube and Instagram for sharing his life and also chat with his fans using Facebook and Twitter. That way, the digital influencer is able to share his point of view about labels, products, experiences, and other kind of stuff that are part of his life. The DI is a full and complete media, promoting himself and negotiating with his fans the content shared. This way, new media on the internet raises a closer and more direct relationship between an idol and his fans. So we intend to study the communicative processes between an idol and his fans in the context mentioned by exploring in the books and academic texts the many concepts about fan, its culture, routine, consume and kinds of communication. We choose the influencer Karol Pinheiro and her channel "As coisas mais legais do mundo" for observing her fans, studying and then create our text. Our main objective is understanding all kind of interaction between idol-fan and fan-fan on internet and which social media they use for being in and socialize.

Triggered by globalisation and the increasing media convergence enabled by digital communication technologies, fansubbing has become one of the most observable aspects of Chinese participatory culture, both domestically and internationally. Informed by concepts drawn from the science of complexity and drawing on social self-organisation theory (Fuchs 2002), this study adopts a systems perspective and the method of netnography (Kozinets 2010) to bring to light the dynamics of collective identity formation in The Last Fantasy (TLF) fansubbing group, one of the most influential fansubbing networks in China. In particular, this study aims to reveal how TLF’s fansubbers deploy digital technologies to facilitate their daily subtitling activities, build and maintain their relationships, and express a collective voice in relation to the specific media context in China. Findings from this study are used to evaluate the role played by amateur translation, as exemplified by fansubbing activities carried out by TLF’s fansubbers, in China’s participatory culture. It is hoped that this study will enrich our understanding of the phenomenon of amateur translation in an increasingly networked society.

Star Wars has since its initial release in 1977, become a pop cultural phenomenon. In the beginning of the franchise, it only consisted of films. Now, almost 40 years later the franchise has become a multimedia experience with many produced spin-offs over the years, such as The Mandalorian (2019). On social media platforms such as Reddit, fans of the universe can discuss intertextual references from the series together with other fans. This study aims to examine how these fans present their opinions regarding the intertextual references and the transmedia extension that is The Mandalorian (2019). Furthermore, it discusses how collective intelligence is built and how this injects meaning to a fan of the franchise. This study mainly consists of a theoretical frameworks popularized by Henry Jenkins, such as transmedia storytelling and participatory culture. Theories on identity, intertextuality and collective intelligence are also used. Critical discourse analysis is the main method of the study, more specifically, Anabela Carvalho’s CDA model for media texts. The results show that Reddit enables participation on different levels, with different types of content. It enables fans to create more value within transmedia fandoms by building on the collective intelligence in the community. The study also shows that fans of transmedia universes, are competent participants who value intertextuality and are like-minded.

This study aims to analyze the audience engagement in a Chinese social media, Weibo, of the Palace Museum TV show “There is Something New in the Palace Museum”. It is new for a Chinese museum to cooperate with traditional media and digital media at the same time to generate more interest, particularly of younger generations. Weibo content is mainly about the TV show and the Palace Museum. While focusing on different types of content that create more interactions, quantitative and qualitative methods of data and content analysis of Weibo posts and in-depth interviews are used to find out the answers to the research questions. The theories of participatory culture by Jenkins and the book about edutainment “Entertainment-education and social change: History, research, and practice” are considered in this study. Based on the theory, the research demonstrates the celebrity-related content is the one that generates the most engagement with fans and followers, followed by direct interaction-trigger content and the Palace museum promotional content. Each type of posts has pros and cons; for example, the celebrity effect can produce the role model effect on the followers and generate more engagement within the fan community, but also create meaningless content. As for the direct trigger content, it can attract many zombie accounts to participate in expecting a positive result. To sum up, Weibo still connects the Palace Museum and the young generation and helps to attract more visitors in the future. These findings offer new insights for the cultural institution to make their work affect the younger generation in the digital media era.

No description available.

This study examines how fanart users perceive image-generating AIs and AI fanart. The study examines ideas of agency by looking at themes in TikTok comment sections and discourses in AI fanart users’ communication when asked about AI fanart. Findings from the study illustrated how fanart users are confused about artist agency and AI fanart’s authenticity. Their ideas and arguments are contradictory and confusing. AI fanart is ultimately perceived as more exploitative than empowering by fanart users, presumably due to both fanart users’ subject position and AIs being a new emerging technology. The discussion of the analyses underlines different ways a contemporary technology, such as AIs, can impact the production of contemporary society and culture both positively and negatively depending on the actors involved. The findings furthermore exemplify how agency can be both enabled and limited by various agents and structures in the AI and fanart community. The conclusive results show that fanart users are unclear and confused about AI agency and AI fanart authenticity, which is mirrored in society. AI fanart may have both an exploitative and empowering nature but just which of the two will be dominant remains unclear and changeable.

As our consumption behaviours of media and entertainment change in the age of new media technologies, the means of production change with them. Filmmaking usually follows a set procedure (often with clear hierarchy and specialised roles in the crew) and the flow of the narration has traditionally followed a one-way direction, from the producing part (the producer/director) to the receiving part (the audience). But since the arrival of the internet, its disruption of the industry has opened up for an increased dialogue between the two, turning the receiving part to a contributing one. This has resulted in a wider democratisation of the medium, where the once passive audience now becomes more involved in the creative production process. Crowdsourcing, already used frequently in service industries and product design processes, has become an alternative method of creative content creation. Made possible through the use of social media channels, entire films are now being created with material submitted by its audience. This study aims to answer the research questions: “What is required in order to use crowdsourcing successfully in filmmaking?”, as well as the sub-questions “What role has social media played in the making of crowdsourced films?” and “Is there a future in crowdsourcing within filmmaking?” Six cases of film and series productions, each of different formats, were analysed; two documentary films, three web series and one TV show. In this study, the production approach for each case has been investigated, in order to see how they have used crowdsourcing in their processes. Five qualitative semi-structured interviews were conducted and each interviewee had held key positions in the making of their respective production. The findings showed the strong need for having an already well-established community in place before undertaking a crowdsourced endeavour. The use of social media also appears to be one of the fundamentally enabling factors for these types of projects, since it provides a platform for an immediate dialogue between the two parties. Using crowdsourcing in film will presumably continue, but the method has still considerable unexplored potential. Because of it’s ingrained dependence on social media, future research could benefit from exploring interdisciplinary collaboration between filmmaking and interactive media technologies. / Samtidigt som att våra beteendemönster i hur vi konsumerar media förändras i takt med att nya medieteknologier uppstår, förändras också sättet media produceras. Filmskapande följer många gånger en särskild process (ofta med en tydlig hierarki av specialister inom produktionsgruppen) och berättelsen har traditionellt sett berättats från en part till den andre – från producenten/regissören till publiken. Men internets intåg har i många avseenden förändrat filmindustrin, vilket har öppnat upp för en ökad dialog mellan dessa två parter, vilket har omformat publikens position till en mer medskapande sådan. Detta har resulterat i enstörre demokratisering av filmmediet, där den en gång passiva publiken nu involverar sig mer i den kreativa filmskapandeprocessen. Crowdsourcing, som redan är vanligt förekommande inom exempelvis produktdesign och serviceindustrier, har blivit en alternativ metod för att skapa kreativt innehåll. Med sociala medier som en möjliggörande faktor skapas hela filmer endast med hjälp av material inskickat från den framtida publiken. Denna studie ämnar svara på problemformuleringarna: "Vad krävs för att framgångsrikt använda crowdsourcing inom filmproduktion?", samt delfrågorna "Vilken roll har sociala medier spelat i skapandet av crowdsourcadefilmer?" och "Finns det någon framtid för crowdsourcing inom filmskapande?" Sex stycken film- och serie-produktioner av olika format har analyserats: två dokumentärer, tre webbserier och en TV-show. Denna studie har undersökt hur varje produktion har använt sig av crowdsourcing i dess produktionsprocess. Utöver det har en kvalitativ undersökning genom fem semistrukturerade intervjuer genomförts, där varje intervjuobjekt har haft nyckelpositioner inom respektive produktion. Resultaten visade på ett starkt behov av att ha en redan väletablerad skara av följare eller ambassadörer innan man startar en crowdsourcing-kampanj. Sociala medier visade sig också vara en fundamental beståndsdel i möjliggörandet av detta, eftersom de skapar en omedelbar tvåvägskommunikation mellan producenten och publiken. Användandet av crowdsourcing kommer förmodligen att fortsätta, och metoden har fortfarande en ansenlig outforskad potential. Med anledning av metodens beroende av sociala medier, kommer fortsatt forskning inom området troligtvis att gynnas av att utforska samarbeten mellan filmskapande och interaktiva medier.