En 2013, dans le parc Gezi d’Istanbul, plus d’un million de personnes ont spontanément déclenché le plus grand mouvement protestataire que la Turquie a connu. Les supporters des trois clubs de football les plus populaires d’Istanbul y ont joué un rôle inédit tant par la forme de leur engagement que par leur mode d’action. Le terrain d’expression de cette contestation était essentiellement constitué par les réseaux sociaux en ligne. La thèse propose de comprendre les raisons de l’implication des supporters et interroge la forme politique de cette mobilisation. Au-delà du football, cet engagement est étroitement dépendant d’un ensemble de conditions historiques et sociales, et de représentations liées à une « doxa républicaine ». L’analyse cyber-ethnographique sur Twitter (qui englobe les messages des supporters) nous a permis de repérer les traces de l’identité urbaine, laïque et « moderne » de ces participants de Gezi, leur rapport au politique et leur adhésion aux valeurs républicaines. / In 2013, at Gezi Park of Istanbul, over a million people spontaneously started the largest protest movement in the history of Turkey. The fans of Istanbul’s three popular football clubs had an unprecedented engagement in these protests. Online social networks were one of the major channels where dissident expressions took place. This thesis aims to understand supporters’ reasons to participate in these protests and the political forms of their mobilization. Beyond football, this engagement is closely associated with a bundle of historical and social conditions and representations, linked with the “republican doxa.” A cyber-ethnography on Twitter that covers football supporters’ messages helps us trace the urban, secular and “modern” identity of these participants of Gezi, their relationship with politics and their allegiance to republican values.

The diploma thesis "Who are the fans of the BBC series?" deals with the BBC TV

Today’s converging entertainment industry creates ‘transmedial’ brand worlds in which consumers are expected to become immersed. Integrated marketing campaigns connected to these worlds encourage various kinds of consumer productivity and invite consumers to partake in brand-building processes. Consumers, thus, are increasingly counted on to act as co-producers of contemporary entertainment. While such an altered consumer identity has been taken as evidence of enhanced consumer agency, it has also been recognized as a source of consumer exploitation.  This thesis aims to further our understanding of the increasingly ambivalent power-relationship that exists between agents in the entertainment industry and their most dedicated customers – the fans. The study employs a multiperspectival theoretical framework, in that cultural studies theory is enriched with perspectives from political economy. This integrated approach to the object of study yields a better understanding of the values of consumer activity, and fan productivity in particular, to industry and consumers respectively. The study applies existing theory on transmedial textuality, branding, and fandom to one particular franchise, Hasbro’s Transformers. This brand world, home of both industrial and fan-based creativity, is studied through analyses of official and unofficial contents, and through interviews with professionals and fans. The focus is on the brand environment established around the first live action film ever made within the franchise. Special attention is given to the all-encompassing film marketing campaign that contributed to forming this environment and to fan productivity taking place in relation to it.  The case study shows that companies and fans contribute to the building and promotion of the Transformers brand world – in collaboration and in conflict. While fan productivity occasionally takes place without direct encouragement from the companies involved, it is also largely anticipated and desired by marketing campaigns. The findings suggest that consumer enjoyment potentially translates into industrial benefits, including free brand promotion. Ultimately, the thesis acknowledges transmedial worlds of entertainment as concurrent sites of pleasure, resistance, and exploitation.

El presente trabajo de investigación consta de un análisis del discurso de las historias fan-fiction y cómo éstas construyen la identidad de los jóvenes en comunidades virtuales de fan-fiction, también llamados fandoms. El análisis se realizará en base a dos fanfics que se realizaron en la plataforma virtual de Wattpad. En relación al discurso de las historias de fan-fiction, se analizará la temática, la narrativa, y los personajes dentro de cada historia; así como el papel de cada uno de los actores que participan de la comunidad, ya sea el escritor de la historia o el lector. En estas variables se encuentra plasmada la identidad de cada uno de los actores mencionados; por lo que, de esta manera, se determinará el perfil y cómo es la relación de los diversos actores que interactúan dentro de la comunidad virtual mencionada. / This research work consists of a discourse analysis of fan-fiction stories and how they build the identity of young people in virtual fan-fiction communities, also called fandoms. The analysis will be carried out based on two fanfics that were carried out on the Wattpad virtual platform. In relation to the discourse of fan-fiction stories, the theme, the narrative, and the characters within each story will be analyzed; as well as the role of each of the actors that participate in the community, be it the writer of the story or the reader. In these variables the identity of each one of the mentioned actors is reflected; So in this way, the profile will be determined and how is the relationship of the various actors that interact within the virtual community mentioned. / Trabajo de investigación

Detta är en kvalitativ innehållsanalys av de kritiska positionerna kring den kontroversiella filmen Star Wars Episode VIII: The Last Jedi. Den innehåller en omfattande överblick om hur Star Wars kritiserats förr och nu för att sätta perspektiv på ämnet, samt information om hur fans och så kallade ”fandoms” ibland fungerar som ett ”hivemind” när det kommer till tyckande och organisering på nätets sajter och forum.

Streamingtjänster har förändrat hur människor lyssnar på musik och upptäcker ny musik. Det har också underlättat för mindre artister att nå lyssnare och potentiella fans utan ett skivbolag som distribuerar och marknadsför. Samtidigt har sociala medier förändrat hur artister når ut och upprätthåller relationen med sina fans. Försäljningen av fysiska album når rekordlåga nivåer och streaming av musik gör så att lyssnaren fokuserar på den enskilda låten snarare än artisten bakom den eller ett album artisten skapat. Professionella inom musikbranschen uttrycker därför en oro för att lyssnaren inte längre bryr sig lika mycket om artisten. Dessa genomgående förändringar i musikbranschen väcker frågan hur lyssnaren förhåller sig till artisten och vilken relevans artisten har när lyssnaren upptäcker ny musik och lyssnar på musiken i sina spellistor. Detta arbete har undersökt frågan kvantitativt och kvalitativt genom en enkät och semi-strukturerade samtal med fokusgrupper. Resultaten pekar på att dagens lyssnare inte väljer ny musik utifrån artisten på samma sätt som att en lyssnare förr köpte ett fysiskt album av en artist de tycker om. Ny musik väljs nästan enbart utifrån den enskilda låtens kvalité som bedöms efter en första lyssning. Intresset för artisten har dock inte gått förlorat eftersom lyssnare fortfarande gärna vidare utforskar artister som sticker ut. De flesta har fortfarande en eller flera artister de är särskilt fästa vid vilka de följer genom sociala medier och genom att lyssna på ny musik artisten släpper. / Music streaming services have changed the way people listen to music and discover new music. It has also made it easier for smaller artists to reach listeners and potential fans without the distribution and marketing of a music label. Simultaneously social media have changed the way artists reach out to and maintan a relationship with their fans. Physical album sales reach record lows and streaming of music makes the listener focus on the individual song rather than the artist behind it or an album. Because of this professionals in the music industry express a concern that the listener no longer cares so much about the artist. These major changes in the music industry raise the question of how the listener relates to the artist and what relevance the artist has when the listener discovers new music and listens to the music in their playlists. This thesis has investigated the question quantitatively and qualitatively through a survey and semi-strucutured discussions with focus groups. The results indicate that today’s listener does not choose new music based on an artist in the same way as a listener previously would buy a physical album by an artist they liked. New music is chosen almost exclusively based on the quality of the individual song which is evaluated after a first listen. Interest in artists has not been lost however as the listener still enjoys exploring artists who “stand out”. Most people still have one or more artists to whom they are particularly attached and will follow on social media and by listening to new material the artist releases.

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.

Online fandom communities exist as a hub of subcultural construction for people across the globe. For queer people, fandom represents a space to safely converge over mutual interests. Previous research has focused on queer fans and popular music fans independently, often taking a pathological approach. This study qualitatively examines queer participants in the Katy Perry fandom through surveys and one-on-one interviews. The theoretical backbone of the study is built around uses and gratifications theory, seeking to understand motivations for fandom participation. The concepts of the heteronormative matrix and queer resistance are additionally incorporated to analyze how LGBTQ+ fans combat societal norms. This research found seven motivations for queer fans to participate in online fandom, providing insight into an understudied community.

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