Hora da DR: paratextualização fânica da última temporada de Game of Thrones
DOI:
https://doi.org/10.5902/1983465965633Palavras-chave:
Game of Thrones, Paratext, Fans, Foucauldian Archeology.Resumo
Objetivo: Os significados dos produtos de mídia jazem na interpretação de seu conteúdo. Como consumidores produtivos, os fãs os ressignificam. Nesse processo, produzem novos textos sobre esses produtos, conhecidos como paratextos. A pesquisa tem o objetivo de compreender como paratextos de fãs (re)produzem discursos para significar (para)textos de produtos de mídia. Para tanto, nos debruçamos na paratextualização de fãs de Game of Thrones (GoT), um fenômeno econômico e cultural com enorme repercussão nas mídias sociais.
Desenho/metodologia/abordagem: Através de uma Arqueologia Foucaultiana coletamos e analisamos os comentários postados pelos fãs de GoT sobre os vídeos promocionais publicados no canal oficial da série televisiva no YouTube.
Resultados: A produção paratextual dos fãs apresenta diferentes posicionamentos sobre o produto cultural consumido: uma homenagem pública destacando seu legado cultural a partir de sentimentos de nostalgia e frustração com a conclusão de sua trama . Concluímos que esses paratextos funcionaram como um acerto de contas para os fãs da série de TV. De maneira mais ampla, é possível interpretar que os paratextos são conteúdos de marketing que permitem que os fãs atuem como prossumidores dos produtos midiáticos, da indústria do entretenimento e da cultura dos fãs.
Originalidade/valor: O estudo apresenta como o consumo produtivo dos fãs é materializado através da (re)produção de paratextos que tanto estabelecem a ressonância de objetos midiáticos na cultura dos fãs, quanto os leva a assumir o papel de coautores dos textos que consomem. Esse papel reforça como os fãs devem ser compreendidos como consumidores podem agir de forma liberta em relação às ações de marketing. Mais que isso, implica que os paratextos podem ser produzidos de modo a estimular a produção discursiva que funciona como atuação prossumidora de fãs.
Downloads
Referências
Andrews, D. L., & Ritzer, G. (2018). Sport and prosumption. Journal of Consumer Culture, 18(2), 356-373.
Arnould, E., & Thompson, C. J. (2015). Introduction: consumer culture theory: ten years gone (and beyond)”. Consumer culture theory, 17(1), 1–21.
Aronczyk, M. (2017). Portal or police? The limits of promotional paratexts. Critical Studies in Media Communication, 34(2), 111-119.
Campbell, M. C., & Price, L. L. (2021). Three Themes for the Future of Brands in a Changing Consumer Marketplace. Journal of Consumer Research, 48(4), 517-526.
Cavalcanti, R. C. T., de Souza-Leão, A. L. M., & Moura, B. M. (2021). Fan Affirmation: Alethurgy on an Indie Music Fandom. Revista De Administração Contemporânea, 25(5), 1–16.
Cervellon, M. C., & Brown, S. (2018). Fans of Freedom. In Revolutionary Nostalgia: Retromania, Neo-Burlesque and Consumer Culture. Emerald Publishing Limited.
Chen, K. K. (2011). Artistic Prosumption: Cocreative Destruction at Burning Man. American Behavioral Scientist, 56(4), 570–595.
Chen, Z. T. (2021). Poetic prosumption of animation, comic, game and novel in a post-socialist China: A case of a popular video-sharing social media Bilibili as heterotopia. Journal of Consumer Culture, 21(2), 257-277.
Cova, B., & Cova, V. (2012). On the road to prosumption: Marketing discourse and the development of consumer competencies. Consumption Markets & Culture, 15(2), 149–168.
Cruz, A. G. B., Seo, Y., & Binay, I. (2019). Cultural globalization from the periphery: Translation practices of English-speaking K-pop fans. Journal of Consumer Culture, OnlineFirst, Retrieved from https://doi/abs/10.1177/1469540519846215.
de Souza-Leão, A. L. M. & Costa, F. Z. N. (2018). Assemblaged by Desire: Potterheads’ productive consumption. Revista de Administração de Empresas, 58(1), 74–86.
de Souza-Leão, A. L. M., & Moura, B. M. (2018). Temos que Pegar Todos! – Discursos Identitários sobre o Consumo de Pokémon GO no Brasil. Brazilian Journal of Marketing, 17(6), 895–913.
Deleuze, G. (1988). Foucault. Minnesota: University of Minnesota Press.
Denegri-Knott, J., Nixon, E., & Abraham, K. (2018). Politicising the study of sustainable living practices. Consumption Markets & Culture, 21(6), 554-573.
Fathallah, J. (2016). Statements and silence: fanfic paratexts for ASoIaF/Game of Thrones. Continuum: Journal of Media & Cultural Studies, 30(1), 75-88.
Feiereisen, S., Rasolofoarison, D., Russell, C. A., & Schau, H. J. (2021). One brand, many trajectories: Narrative navigation in transmedia. Journal of Consumer Research, 48(4), 651-681.
Foucault, M. (2008). A arqueologia do saber. Rio de Janeiro: Forense Universitária, 2008.
Foucault, M. (2011). O que é um autor? In: M. Foucault, Ditos e escritos III: Estética: literatura e pintura, música e cinema. Rio de Janeiro: Forense.
Fuschillo, G. (2020). Fans, fandoms, or fanaticism? Journal of Consumer Culture, 20(3), 347–365.
Genette, G. (1997). Paratexts: thresholds of interpretation. Cambridge: Cambridge University Press.
Genette, G. (2010). Paratexts – Thresholds of Interpretation. Cambridge: Cambridge University Press.
George, S. (2018). Watching Game of Thrones in India: notes on programme culture, television and YouTube. Interactions: Studies in Communication & Culture, 9(3), 275–288.
Grainge, P., & Johnson, C. (2015). Show us your moves: trade rituals of television marketing. Arts and the Market, 5(2), 126–138.
Gray, J. (2010). Show sold separately: promos, spoilers and other media paratexts. New York: NYU Press.
Gray, J., & Murray, S. (2016). Hidden: studying media dislike and its meaning. International Journal of Cultural Studies, 19(4), 357–372.
Guschwan, M. (2012). Fandom, brandom and the limits of participatory culture. Journal of Consumer Culture, 12(1), 19–40.
Hackley, C., & Hackley, A. R. (2019). Advertising at the threshold: Paratextual promotion in the era of media convergence. Marketing Theory, 19(2), 195–215.
Hewer, P., Gannon, M. & Cordina, R. (2017). Discordant fandom and global football brands: ‘Let the people sing’. Journal of Consumer Culture, 17(3), 600–619.
Hill, A. (2015). Spectacle of excess: the passion work of professional wrestlers, fans and anti-fans. European Journal of Cultural Studies, 18(2), 174–189.
Hills, M., & Garde-Hansen, J. (2017). Fandom’s paratextual memory: remembering, reconstructing, and repatriating “lost” Doctor Who. Critical Studies in Media Communication, 34(2), 158–167.
Janes, S. (2015). Promotional alternate reality games – more than “just” marketing. Arts and the Market, 5(2), 183–196.
Jenkins, H. (2006). Fans, Bloggers, and Gamers: Exploring Participatory Culture. New York: NYU Press.
Jenkins, H., Ford, S., & Green, J. (2013). Spreadable media: creating value and meaning in a networked culture. New York: NYU Press.
Kozinets, R. V. (2001) Utopian Enterprise: Articulating the Meanings of Star Trek’s Culture of Consumption”. Journal of Consumer Research, 28(1), 67–88
Kozinets, R. V. et al. (2004). Ludic agency and retail spectacle. Journal of Consumer Research, 31(3), 658–72.
Kozinets, R. V. (2020). Netnography: The essential guide to qualitative social media research. Doing ethnographic research online. New York: Sage.
Labrecque, L. I. et al. (2013). Consumer Power: Evolution in the Digital Age. Journal of Interactive Marketing, 27(4), 257–269.
MacInnis, D. J. et al. (2020). Creating boundary-breaking, marketing-relevant consumer research. Journal of Marketing, 84(2), 1-23.
Mittell, J. (2015). Complex TV: The Poetics of Contemporary Television Storytelling. New York: New York University Press.
Ng, E. (2017). Between text, paratext, and context: Queerbaiting and the contemporary media landscape. Transformative Works and Cultures, 24.
Ritzer, G. (2014). Prosumption: evolution, revolution, or eternal return of the same? Journal of Consumer Culture, 14(1), 3–25.
Ritzer, G., & Jurgenson, N. (2010). Production, Consumption, Prosumption: The nature of capitalism in the age of the digital 'prosumer'. Journal of Consumer Culture, 10(1), 13–36.
Ryan, M. L. (2020). Transmedia Storytelling and Its Discourses. Transmediations: Communication Across Media Borders, 17-30.
Seregina, A., & Weijo, H. A. (2017). Play at any cost: How cosplayers produce and sustain their ludic communal consumption experiences. Journal of Consumer Research, 44(1), 139-159.
Scott, S. (2017). #Wheresrey? – Toys, spoilers, and the gender politics of franchise paratexts. Critical Studies in Media Communication, 34(22), 138–147.
Steiner, T. (2015). Steering the Author Discourse: The Construction of Authorship in Quality TV and the case of Game of Thrones. International Journal of TV Serial Narratives, 1(2), 181–192.
Suciu, P. (2021). Fan Reaction To New Game Of Thrones Season 8 Trailer Suggests A Winter Of Disconten. Retrieved from https://www.forbes.com/sites/petersuciu/2021/04/14/fan-reaction-to-new-game-of-thrones-season-8-trailer-suggests-a-winter-of-discontent/
Sugihartati, R. (2020). Youth fans of global popular culture: Between prosumer and free digital labourer”. Journal of Consumer Culture, 20(3), 305–323.
Tadajewski, M. (2011). Producing historical critical marketing studies: theory, method and politics. Journal of Historical Research in Marketing, 3(4), 549-75.
Tadajewski, M. (2016). The alternative “Marketing Revolution”: Infra-power, the compromising consumer and goodwill creation. Journal of Historical Research in Marketing, 8(2), 308-34.
Thompson, C. J. (2017). Canonical Authors in Consumption Theory. In S. Askegaard & B. Heilbrunn (Eds.), Producing foucaldians: consumer culture theory and the analytics of power (pp. 212-220). New York: Routledge.
Trammell, K. (2019). Why 'Game of Thrones' fans aren't happy with this final season. Retrieved from https://edition.cnn.com/2019/05/17/entertainment/game-of-thrones-season-8-fans-unhappy-trnd/index.html
Wohlfeil, M., & Whelan, S. (2012). “Saved!” by Jena Malone: An introspective study of a consumer's fan relationship with a film actress. Journal of Business Research, 65(4), 511-519.
Young, H. (2014). Race in online fantasy fandom: Whiteness on Westeros.Org. Continuum, 28(5), 737–747.
Downloads
Publicado
Como Citar
Edição
Seção
Licença
Copyright (c) 2022 Revista de Administração da UFSM
Este trabalho está licenciado sob uma licença Creative Commons Attribution 4.0 International License.
Autores de artigos publicados pela ReA/UFSM mantêm os direitos autorais de seus trabalhos, licenciando-os sob a licença Creative Commons Attribution CC-BY, que permite que os artigos sejam reutilizados e distribuídos sem restrição, desde que o trabalho original seja corretamente citado.
