Made available in DSpace on 2016-08-03T12:30:00Z (GMT). No. of bitstreams: 1 JORGE VAN DAL.pdf: 806217 bytes, checksum: f298e1b536452fcce562ef0f392ef02a (MD5) Previous issue date: 2014-04-15 / The advertising market is experiencing a major transformation in a short time and has had to learn to deal with an audience that act and interact with brands, and more than a means of communication, seeking ways of relating. Becomes extremely important to reflect on the most appropriate forms of advertising that are relevant to this new scenario. This work aims to understand how advertising is appropriating the participatory culture in socio-technical context of the network society. For this method was used as the literature and case study of campaign by Stella Artois beer, called The King of Cannes. It was noticed that the said campaign reinforces participatory advertising, unlike traditional interruption-based advertising. This case exemplifies the possible changes in advertising practices that must go hand in technological expansion, the convergence of media and the relationship with the consumer public, taking into account the practical access mediated communication technologies that enable consumer relations and exchanges with organizations in the cyberspace environment. / O mercado publicitário vive uma grande transformação e em pouco tempo vem tendo de aprender a lidar com uma audiência que age e interage com as marcas, e, mais do que formas de comunicação, busca formas de relacionamento. Torna-se de extrema importância refletir sobre as formas mais adequadas de publicidade que sejam relevantes a esse novo cenário. Este trabalho tem como objetivo compreender como a publicidade está se apropriando da cultura participativa no contexto sociotécnico da sociedade em rede. Para isso foi utilizado como método à pesquisa bibliográfica e estudo de caso da campanha realizada pela cerveja Stella Artois, denominada The King of Cannes. Percebeu-se que a referida campanha reforça a publicidade participativa, ao contrário da publicidade tradicional baseada na interrupção. Esse caso exemplifica as eventuais mudanças nas praticas da propaganda que deve caminhar ao lado da expansão tecnológica, da convergência das mídias e do relacionamento com público consumidor, levando em consideração as praticas de acesso mediadas por tecnologias da comunicação que viabilizam as relações de consumo e de trocas com as organizações no ambiente do ciberespaço.

Este trabalho desenvolve um estudo do sistema de produção estabelecido por fãs da trilogia de filmes O Hobbit. Nós partimos da questão “como se organiza o fandom de O Hobbit a partir da produção de fanworks sobre fanworks?” com o objetivo de verificar como as práticas de consumo e produção internas ao fandom de O Hobbit podem defini-lo como comunidade interpretativa. Assim, tomamos por objeto teórico o sistema de produção de fãs que se estabelece a partir do que um fã faz sobre o trabalho já produzido por outros fãs, fanworks de fanworks. Para embasar nossa pesquisa, apresentamos uma contextualização dos estudos de fãs em Comunicação, a partir de um panorama da literatura internacional e seu desenvolvimento sobre o conceito, com um aprofundamento na produção de teses e dissertações nacionais, que nos permitem compreender como o tema, e esse objeto em específico, vem sido trabalhado academicamente para situar a nossa pesquisa. Desenvolvemos também uma reflexão teórica buscando problematizar a produção dos fãs com relação aos processos de consumo cultural e midiático e sua articulação em comunidade. A partir desse contexto teórico, desenvolvemos duas pesquisas exploratórias que se embasam na interpretação de dados levantados por pesquisas maiores realizadas por terceiros: AO3 Census e o Hobbit Project. Os dados da primeira pesquisa nos permitem compreender mais sobre os fãs e suas práticas de consumo e produção, enquanto os dados da segunda nos lança luz sobre o fandom dos filmes de O Hobbit em específico. A partir da análise de conteúdo realizada nessas exploratórias, fundamentamos delimitações de contexto e ferramentas metodológicas a serem apropriados em nossa pesquisa. Com inspiração etnográfica, realizamos dois experimentos buscando as interações dos sujeitos envolvidos nos processos de produção realizados pelos fãs: uma imersão em um site de postagem de fanworks, o AO3, em que analisamos as notas deixadas por autores de fanworks produzidos sobre outros fanworks para os seus leitores. Pudemos não só nos aprofundar nas formas de produção, mas também nas relações pessoais estabelecidas entre fãs nesse processo. O segundo experimento se fundou em uma imersão em campo, em que realizamos entrevistas pré-estruturadas com fãs de O Hobbit participantes da I Feira Medieval de São Leopoldo, buscando compreender mais de suas interações e formas de produção. Por fim, nossa análise se volta para as particularidades do sistema de produção de fanworks sobre fanworks com relação ao fandom como comunidade, trazendo como principais resultados a constituição de uma rede de produção estruturada nos critérios interpretativos dos fãs e o processo de identificação do fã como fã. / This work develops a study on the production system established by fans of The Hobbit movie trilogy. Our starting point was the question “how does The Hobbit fandom organize itself based on the fanworks about fanworks?” with the objective of verifying how the consumers practices and internal productions of The Hobbit fandom are able to define it as an interpretive community. Thus, we took as a theoretical objective the fans production system established by the work a fan made based on a work created by another fan, fanworks of fanworks. In order to base our research, we present a contextualization of the fans studies in Communication, from an overview of international literature and its development about the concept, with a deepening in the production of national theses and dissertations. That allow us to comprehend how the topic, and this objective in specific, have been worked on academically to situate our research. We also developed a theoretical reflection with the intention of discussing the fan production in relation to the cultural and media consumption and its articulation in community. Two exploratory researches that are based on the interpretation of data collected by to major researches made by third parties were developed from this theoretical context: AO3 Census and the Hobbit Project. The data from the first research allowed us to comprehend more about the fans and their practice of consumption and production, while the data from the second one shines a light on the films’ fandom for The Hobbit in specific. Then, based on the content analysis done on these exploratory researches we substantiated boundaries of context and methodological tools to be appropriated in our research. Inspired by ethnography, we’ve conducted two experiments in search of the interactions between subjects involved on the production process done by the fans: an immersion in a fanwork website, AO3, in which we analysed the notes left by authors of fanworks about other fanworks to its readers. We were able to not only deepened in the ways of production, but also in the personal relations established between fans in this process. The second experiment was based on a field immersion, in which we’ve conducted pre-structured interviews with fans of The Hobbit participating on the I Medieval Fair of São Leopoldo, with the intention of comprehending more about their interaction and ways of production. Finally, our analysis focus on the singularities of the production system of fanworks of fanworks related to the fandom as a community, rendering as its main result the building of a production network established on the interpretative criteria of the fans and the process of identification of the fan as a fan.

Submitted by Jordan (jordanbiblio@gmail.com) on 2017-02-07T12:26:08Z No. of bitstreams: 1 DISS_2011_Mauricio Falchetti.pdf: 4674267 bytes, checksum: 0a4a53b76e34b1d64ef876449fcf8b82 (MD5) / Approved for entry into archive by Jordan (jordanbiblio@gmail.com) on 2017-02-07T12:52:23Z (GMT) No. of bitstreams: 1 DISS_2011_Mauricio Falchetti.pdf: 4674267 bytes, checksum: 0a4a53b76e34b1d64ef876449fcf8b82 (MD5) / Made available in DSpace on 2017-02-07T12:52:23Z (GMT). No. of bitstreams: 1 DISS_2011_Mauricio Falchetti.pdf: 4674267 bytes, checksum: 0a4a53b76e34b1d64ef876449fcf8b82 (MD5) Previous issue date: 2011-11-11 / CAPES / Esta pesquisa tem por objetivo observar o processo de interação entre fãs na internet que utilizam o site YouTube como ferramenta de compartilhamento de fan films. Uma parcela dos fãs não está mais interessada em consumir passivamente os produtos das grandes empresas de comunicação de massa, ela também quer produzir conteúdo, quer se tornar coautor da obra que admira. O foco desta pesquisa são os fan films veiculados no site de compartilhamento de vídeos YouTube, que dispõe de diversas ferramentas que incentivam a comunicação entre os usuários. A produção e divulgação das fan labors cresceu em função do desenvolvimento das novas tecnologias e da internet. Foram selecionados fan films baseados em livros e jogos de computador. Os mesmos foram analisados através das ferramentas de comentário e avaliação da própria plataforma do YouTube. As principais conclusões deste trabalho referem-se a forma e o conteúdo das discussões entre os fãs no YouTube, principalmente sobre o questionamento critico dos fãs à fidelidade do fan film em relação ao cânone. / This research aims to observe the interaction of fans who access YouTube for viewing and sharing videos such as fan films. A considerable number of fans is not satisfied in passively consume large media corporation products. They want to make something new based on the products of their admiration. This research will analyze fan films shared on YouTube, which has several tools to stimulate users’ interaction. Fan labors have been producing and sharing more since new internet technologies were developed. Fan films based on computer games and books were selected and analyzed using review and evaluation tools, available on YouTube platform. Conclusions concern basically the form and content of fans interaction on YouTube, specifically to fans fidelity regarding the original product.

De senaste åren har begreppet participation har blivit ett centralt tema inom arkivprofessionen och den akademiska arkivvetenskapliga litteraturen. Trots detta råder det stor osäkerhet kring vad participation innebär i arkivsammanhang. Tidigare forskning visar att arkivarier till och med kan känna rädsla för att förlora sin auktoritet och bli överflödiga i det annalkande deltagande arkivet. Därför genomför jag en normstudie med avsikten att att öka förståelsen kring deltagandets villkor genom att analysera participationens grundförutsättningar, normerna i världens mest framgångsrika wiki projekt, participationskulturen Wikipedia. Med en normvetenskaplig ansats och med normmodellen som verktyg analyserar jag dels ett urval av Wikipedias normativa dokument och genomför en normanalys på mikronivå av en diskussionssida för att besvara frågorna; Vilka formella normer styr och påverkar samverkan i svenska Wikipedia? och Vad kännetecknar dessa normer? Jag identifierar 6 kategorier som är kännetecknande för de formella normerna i svenska Wikipedia, Mening och innehåll, Mening och identitet, Beteende, Rättslig, Organisation och koordination och Formella processer. Tillsammans bildar de ett genomgripande mönster av värden, förväntningar och krav som blottlägger villkoren för participation i deltagande kulturen Wikipedia. Kraven som ställs handlar inte om att upprätthålla maktstrukturer, utan kraven handlar ytterst om samverkan. De befäster värden för att forma en gemenskap som samverkar mot ett gemensamt mål. Participationens grundval utgörs således av ett normsystem som inte bara styr och påverkar samverkan utan ställer villkoret att deltagarna samverkar. Denna samverkan är beroende av det socioteknologiska normsystemet och av Wikipedias auktoriteter, utvalda administratörer med högre behörigheter och med befogenheter att sanktionera normbrott. Deltagande medger frihet men aldrig förutsättningslöst. Villkoren som ställs handlar ofta om att deltagarna ska sträva efter samförstånd och visa anständighet, artighet och respekt, och värden som upprepas är ordning och kontroll. Jag drar slutsatsen arkivarierna i ett framtida deltagande arkiv aldrig kommer att bli överflödiga. Arkivariernas kunskap, engagemang och auktoritet kommer att vara nödvändig på samma sätt som Wikipedias administratörer är nödvändiga för att beskydda Wikipedia och dess värden.

Este trabalho desenvolve um estudo do sistema de produção estabelecido por fãs da trilogia de filmes O Hobbit. Nós partimos da questão “como se organiza o fandom de O Hobbit a partir da produção de fanworks sobre fanworks?” com o objetivo de verificar como as práticas de consumo e produção internas ao fandom de O Hobbit podem defini-lo como comunidade interpretativa. Assim, tomamos por objeto teórico o sistema de produção de fãs que se estabelece a partir do que um fã faz sobre o trabalho já produzido por outros fãs, fanworks de fanworks. Para embasar nossa pesquisa, apresentamos uma contextualização dos estudos de fãs em Comunicação, a partir de um panorama da literatura internacional e seu desenvolvimento sobre o conceito, com um aprofundamento na produção de teses e dissertações nacionais, que nos permitem compreender como o tema, e esse objeto em específico, vem sido trabalhado academicamente para situar a nossa pesquisa. Desenvolvemos também uma reflexão teórica buscando problematizar a produção dos fãs com relação aos processos de consumo cultural e midiático e sua articulação em comunidade. A partir desse contexto teórico, desenvolvemos duas pesquisas exploratórias que se embasam na interpretação de dados levantados por pesquisas maiores realizadas por terceiros: AO3 Census e o Hobbit Project. Os dados da primeira pesquisa nos permitem compreender mais sobre os fãs e suas práticas de consumo e produção, enquanto os dados da segunda nos lança luz sobre o fandom dos filmes de O Hobbit em específico. A partir da análise de conteúdo realizada nessas exploratórias, fundamentamos delimitações de contexto e ferramentas metodológicas a serem apropriados em nossa pesquisa. Com inspiração etnográfica, realizamos dois experimentos buscando as interações dos sujeitos envolvidos nos processos de produção realizados pelos fãs: uma imersão em um site de postagem de fanworks, o AO3, em que analisamos as notas deixadas por autores de fanworks produzidos sobre outros fanworks para os seus leitores. Pudemos não só nos aprofundar nas formas de produção, mas também nas relações pessoais estabelecidas entre fãs nesse processo. O segundo experimento se fundou em uma imersão em campo, em que realizamos entrevistas pré-estruturadas com fãs de O Hobbit participantes da I Feira Medieval de São Leopoldo, buscando compreender mais de suas interações e formas de produção. Por fim, nossa análise se volta para as particularidades do sistema de produção de fanworks sobre fanworks com relação ao fandom como comunidade, trazendo como principais resultados a constituição de uma rede de produção estruturada nos critérios interpretativos dos fãs e o processo de identificação do fã como fã. / This work develops a study on the production system established by fans of The Hobbit movie trilogy. Our starting point was the question “how does The Hobbit fandom organize itself based on the fanworks about fanworks?” with the objective of verifying how the consumers practices and internal productions of The Hobbit fandom are able to define it as an interpretive community. Thus, we took as a theoretical objective the fans production system established by the work a fan made based on a work created by another fan, fanworks of fanworks. In order to base our research, we present a contextualization of the fans studies in Communication, from an overview of international literature and its development about the concept, with a deepening in the production of national theses and dissertations. That allow us to comprehend how the topic, and this objective in specific, have been worked on academically to situate our research. We also developed a theoretical reflection with the intention of discussing the fan production in relation to the cultural and media consumption and its articulation in community. Two exploratory researches that are based on the interpretation of data collected by to major researches made by third parties were developed from this theoretical context: AO3 Census and the Hobbit Project. The data from the first research allowed us to comprehend more about the fans and their practice of consumption and production, while the data from the second one shines a light on the films’ fandom for The Hobbit in specific. Then, based on the content analysis done on these exploratory researches we substantiated boundaries of context and methodological tools to be appropriated in our research. Inspired by ethnography, we’ve conducted two experiments in search of the interactions between subjects involved on the production process done by the fans: an immersion in a fanwork website, AO3, in which we analysed the notes left by authors of fanworks about other fanworks to its readers. We were able to not only deepened in the ways of production, but also in the personal relations established between fans in this process. The second experiment was based on a field immersion, in which we’ve conducted pre-structured interviews with fans of The Hobbit participating on the I Medieval Fair of São Leopoldo, with the intention of comprehending more about their interaction and ways of production. Finally, our analysis focus on the singularities of the production system of fanworks of fanworks related to the fandom as a community, rendering as its main result the building of a production network established on the interpretative criteria of the fans and the process of identification of the fan as a fan.

In this examination of citizen surveillance, I engage with Foucaultian and Deleuzian conceptualizations of surveillance, power, resistance, control, and desire, to explore the motivation(s) of community members who film and disseminate footage of the police. Methodologically, I conducted semi-structured interviews with community stakeholders to study the latent thematic ideas embedded in their responses. These themes represent the underlying motivational factors a citizen surveiller may have when filming the police. In my analysis of these themes, I explore: citizen surveillers’ logic for resisting power; citizen surveillers’ understandings of power; and, citizen surveillers’ reported approaches to both passive and active forms of resistance. Subsequently, there appears to be an underlying desire for power and a resistance to power when filming the police. However, given the exploratory nature of this study, there is a need to continue investigating the theoretical and under substantiated claims about citizen surveillance and its association with race, gender and socio-economic status.

This study aimed to get a deeper understanding of how people interact within groups on social media that originally stems from a hashtag-activistic campaign. The study was conducted on an empirically selected group using the hashtag #Trashtag on Facebook. #Trashtag is a hashtag used when picking up garbage in order to document pictures of ones work on social media. This study attempts to find out how the interaction within this group works and what makes people engage in the matter.  This study is conducted through content- and text analysis as well as ethnographic observation online. The observation method is also the means in which the data for this study is collected. The following three theories is used as the theoretical framework for this study, participatory culture, making is connecting and uses and gratification alongside with an hermeneutic perspective. The main results for this study was found by observing 45 publications from one Facebook group with the mission to clean up a beach in Ireland.  The observation showed that publications posted in the group varied between subjects concerning the constant litter and contamination on the beach too publications designed to inform about possible or direct causes of the problem. The main result of this study was an observation that a recurring way of motivating the group members to participate in the Facebook group was through emotionally charged content designed to provoke some kind of reaction. The engagement however is driven by positiveness and unconditional encouragement between the participants, negative vibes are not answered upon. Furthermore the study found that the urge to participate and contribute gives people a satisfactory feeling of achievement. Therefore activist groups like the one being researched in this study are important not just for the environment itself but also for the individual. The presented material in this study could be used for further research within this subject.

This dissertation contains an exploratory study of how four Swedish media companies has decided to use social media in their daily work, and also how they in fact use them. What are the goals with implementing social media, how do they differ between different companies and do the goals transfer into the newsrooms? The four companies studied are Sveriges Radio, Aftonbladet, Dalarnas Tidningar and Gotlands Media. Media companies that differ from one another both in size, geographical coverage and economy. They range from small local newspapers to national public service radio and the biggest tabloid on the Swedish market. The methods used are qualitative research interviews and field studies as well as quantitative data analysis. The theoretical chapter helps define traditional journalism and journalistic practice. The concepts of boundaries, participatory cultures and normalizing of work methods are also discussed and helps build a context for the analysis of the empirical data. Some key findings from the study are that there are more similarities than differences between the various companies in both how they aim to use social media and how they in fact use them. That the digital development in the surrounding society are much faster than the implementation of new technologies in the newsrooms. Also, that there are differences between how the companies aim to use social media and the actual usage. For instance, all companies strive for a more active dialog with the audience in their visionary work, but has a hard time turning this into reality. There is also notable that social media in this study do not change the journalistic fundamental routines and traditions. The studied journalists are still in control of their own content and they aim to meet the same standard in journalistic quality when working in social media. It is also evident that Facebook is invaluable for all the studied companies, which gives Facebook an interesting indirect power over the journalistic work process and product. Finally, the study finds that it is hard to engage the audience in an active collaboration even when working with social media.

This thesis examines how a female politician is being represented in a political parody account on Twitter through a thematic analysis of “Lady Emily Kardashian Duchess of Yiolou” (@edPLOgAQvtTQHJc) Tweets, satirizing the Cypriot Minister of Justice & Public Order Ms. Emily Yiolitis. The analysis of both Tweets and official media outlets, during a fixed period of time, demonstrates how a humorous and at the same time critical act of public discourse, can perform as an expression of political action and a form of activism, which can be approached as a branch of the study of anti-fandom.

This thesis investigates the relationship between contemporary climate protest movements (Extinction Rebellion and Fridays For Future) and governmental bodies in European countries that declared a climate emergency in 2019. The primary contribution of this thesis is to demonstrate how emerging communication practices by these movements compare to the perceived influence of such practices among political decisionmakers in their governing bodies’ votes for a climate emergency declaration. Twitter content (tweets by movement accounts) surrounding protest actions of the climate movements was coded using concepts deduced from theoretical literature of participation, media and communication. Themes induced from this data were also used for coding. A thematic analysis of empirical interview text from semi-structured interviews of nine politicians in eight governmental bodies (six German city councils, that of Innsbruck, Austria and the Swiss cantonal parliament of Vaud) on this subject matter was done similarly. Relational thematic analyses of both datasets influenced the coding of one another. A frame analysis grounded in these data studied the use of social media imagery and text by the two movements. Another look at the interview data reflects the influence these movements had on climate emergency declarations via comparison of politicians’ stated impressions of the movements’ participation/influences with formations of tweeted movement frames. The data support the hypothesis that citizens engage via the connective power of personalized participatory culture on social media, enabling political participation. Today, we see a shift away from a political logic of social movements abiding to strong shared identity and meaning through frames of collective action. Instead, a social media logic, which aims to achieve the same functions, operates in loosely networked movements based on individualized frames of youth identity. This ‘connective identity’ bridges the participatory culture of social media with offline political participation in the streets and halls of power.