The research aims to analyze how Brazilian produce fanvideos based on successful pop culture franchises. For such, assumes that fans are prosumers of pop culture in a context of participatory culture and that fanvideos are user-generated content propitiated by Web 2.0 technologies. A total of 257 fanvideos posted between April 2006 and February 2018 were analyzed through Interpretive Content Analysis. Five types of fanmade productions were identified: fandub, fanart, fan animation, fan music and fanfiction. Such production demonstrates that fanvideos reveal the fans' desire to make art, what occurs both as a way for the fans relate to the franchises they admire, as well as to express themselves based on them. By doing this, they wide the scope and the narrative possibilities of the franchises through intra- and inter-textualities in relation to the universe of pop culture and their own daily experiences. The research presents an original approach to user-generated content in association to fan production and the notion of prosumption. As limitation, the study is delimited to the Brazilian production of fanvideos. Future similar research could be carried out in other countries, as well as regarding other fan productions.
Purpose -Considering the growing relevance of digital influencers in consumer practices and the emergence of Brazil as one of the main popular culture markets in the world, this study aims to understand how Brazilian popular culture digital influencer channels produce paratexts that complement and broaden the consumption experience of media texts. Theoretical framework -Digital influencers operate as consumption mediators through the notions of marketplace ideologies and agencies established by media discourses, grounded by the Foucauldian Theory of Knowledge and the Theory of Paratextuality. Design/methodology/ approach -Using Foucauldian discourse analysis the research analyzes 4,006 video thumbnails posted between January 2017 and July 2019 from the top-five Brazilian YouTube channels specialized in popular culture and the entertainment industry. Findings -The identified discursive formations point to three ideological positions taken by the digital influencer channels: as press, analytically resonating the entertainment industry; as fans, touting popular culture to a captive audience; and as promoters, assuming a marketing role in demand development. Altogether, these discourses evidence an episteme founded in market agency. Practical & social implications of research -The study proposes an important theoretical insight, since digital influencers evidence an overlap of roles performed as market agents (e.g., consumers, producers, mediators), which are often well demarcated by the literature. Specifically, it evokes an ethical reflection on such conduct and reverberates their actions in authoring popular culture, bringing light to both social and practical concerns about it. Furthermore, the study also presents as a practical implication the importance of digital influencers in inducing consumption practices through their discourses. Originality/value -The study addresses the conception of paratextual production as an interdisciplinary theoretical dialogue for the Consumer Culture Theory research tradition.
PurposeFans are proactive consumers of pop culture products, who can be seen as prosumers. Fanvideo production is one of their most widespread practices in the participatory culture scenario. Thus, the aim of the present study is to analyze how ludic prosumption is featured on plays performed in Brazilian fanvideos based on successful pop culture franchises.Design/methodology/approachResearch based on the interpretive content analysis of fanvideos of plays produced by Brazilian fans based on five emblematic pop culture franchises and published on YouTube.FindingsResults have shown six play types in the analyzed fanvideos – i.e. child's play, performing powers, cosplay, play in social rites, teaching to play and “zuêra” –, which revealed a way of having fun in different situations through different practices based on ludic consumption experiences in different spheres of social life.Originality/valueCCT-based studies focused on investigating plays as ludic consumption phenomenon, as well as fan culture, remain at early research stage. Thus, the main contribution of the present study lies on associating such concepts based on the concept of prosumption.
Purpose: This research aims to analyze how the productive consumer is portrayed by scientific production in the Marketing area.Methods: A bibliographical research was carried out, and the data were extracted based on articles from the main journals in the Marketing area, according to the ranking developed by the Scimago Journal & Country Rank. From a qualitative research perspective, Interpretative Content Analysis was used in the study of the corpus, developing the codification and correlation of concepts exposed by the various authors.Findings: The study created a systematic review of what the authors treat, elaborate on, and reflect on the productive consumer in the scientific area of Marketing. The results discuss three theoretical fields of interpretation of the object of study: the purpose of the act of prosumption; the interaction established between consumers; and the relationship between consumers and companies.Originality: The article contributes to the field of Marketing as it develops a conceptual framework that demonstrates and interconnects academic approaches to productive consumers. In this way, the study contributes to a better understanding of the prosumer, elucidating the existence of identity relations and contributing to the promotion of new research that uses the characteristics presented or amplifies them.
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