Universidade Federal De Juiz De Fora Programa De Pós-Graduação Em Comunicação

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Universidade Federal De Juiz De Fora Programa De Pós-Graduação Em Comunicação UNIVERSIDADE FEDERAL DE JUIZ DE FORA PROGRAMA DE PÓS-GRADUAÇÃO EM COMUNICAÇÃO Daiana Maria Veiga Sigiliano SOCIAL TV: o laço social no backchannel de The X-Files PPGCOM/UFJF Fevereiro de 2017 Daiana Maria Veiga Sigiliano SOCIAL TV: o laço social no backchannel de The X-Files Dissertação apresentada ao Programa de Pós Graduação em Comunicação, área de concentração Comunicação e Sociedade, da Universidade Federal de Juiz de Fora, como requisito parcial para obtenção do grau de Mestre. Orientadora: Profª. Dra. Gabriela Borges Martins Caravela PPGCOM/UFJF Fevereiro de 2017 AGRADECIMENTOS Esse trabalho é norteado por desafios e um deles é encontrar uma forma de agradecer a minha orientadora, a professora Gabriela Borges, por todo o aprendizado ao longo desses anos. Entretanto, qualquer agradecimento feito aqui será ínfimo perto da sua importância na minha trajetória. Obrigada por em 2013, durante uma aula da especialização em Jornalismo Multiplataforma, ter me perguntado se eu gostaria de fazer mestrado e desde então ter estado ao meu lado. Obrigada pela confiança depositada em cada projeto, é sempre uma honra poder fazer parte das suas pesquisas e dos seus cronogramas que na hora parecem impossíveis de serem cumprimos, mas que no final sempre dão certo. Obrigada por toda generosidade com que conduziu não só essa dissertação, mas cada pesquisa que fizemos juntas (eu vou sentir saudades de falar no plural). Obrigada pelo incentivo e por acreditar que tudo isso seria possível desde o início. Obrigada por mostrar que o conhecimento é sempre construído com a ajuda do outro e que o aprendizado é constante. Serei sempre grata por tudo! À professora Soraya Ferreira por todo o aprendizado, carinho, abraços apertados e pelas digressões. Aos pesquisadores do grupo de pesquisa ‗Redes, Ambientes imersivos e Linguagens‘, e do ‗Observatório da Qualidade no Audiovisual‘, ambos coordenados pela profa. Gabriela Borges, pela parceria e apoio. Aos alunos da graduação, Turma 2015.2, por todo o carinho e entusiasmo com que me receberam durante o estágio docência. RESUMO O ambiente de convergência alterou de forma decisiva os modos de pensar, produzir, distribuir e consumir televisão. É a partir deste contexto que a social TV se configura, o fenômeno é caracterizado pelo compartilhamento de conteúdos (comentários, memes, vídeos, fotos, montagens, etc.) feito através das redes sociais (Twitter, Facebook, Snapchat, etc.) e dos aplicativos de segunda tela (TVShow Time, TV Tag, Viggle, etc.) de maneira síncrona à exibição da grade de programação.Ao estabelecer uma relação simbiótica entre a televisão e o ciberespaço, o fenômeno potencializa e reconfigura a conversação em torno do conteúdo televisivo e a experiência coletiva. Nesse sentido, esta dissertação tem como objetivo discutir de que forma a social TV reforça o conceito de laço social de Wolton (1996). Isto é, se o autor propunha o entendimento do laço social enquanto uma experiência compartilhada que aproxima os telespectadores e as diferentes comunidades que constituem uma sociedade, estabelecendo assim um conhecimento comum entre eles, o fenômeno não só potencializa este aspecto, como também propicia a formação de comunidades momentâneas e teias colaborativas no backchannel. Nesse contexto, analisamos as ações de social TV adotadas pelo canal estadunidense Fox para engajar os telespectadores e a forma como as publicações dialogam com o universo ficcional da série The X-Files. Criada por Chris Carter, a tramaé protagonizada pelos agentes do FBI Fox Mulder (David Duchovny) e Dana Scully (Gillian Anderson). Mulder e Scully são investigadores de casos não solucionados envolvendo fenômenos paranormais, conhecidos como x-files. Sendo assim, realizamos um estudo sobre as estratégias promovidas pela emissora estadunidense para os episódios da décima temporada de The X-Files e analisamos os conteúdos (comentários, memes, fotos, montagens, etc.) compartilhados pelos telespectadores interagentes no Twitter durante a exibição da atração. Desta forma, concluímos que, ao entrelaçar o fluxo televisivo e a temporalidade always on do Twitter, a social TV reforça o lado social de Wolton (1996) e ressignifica a experiência televisiva, possibilitando novas formas de participação, colaboração e expansão do universo ficcional. Palavras-chave: Social TV. Laço Social. Twitter. Ficção Seriada. The X-Files. ABSTRACT The convergence environment has decisively changed the ways of thinking, producing, distributing and consuming television. It is from this context that thesocial TV gets configured; the phenomenon is characterized by the content sharing (comments, memes, videos, photos, montages, etc.) made through the social networks (Twitter, Facebook, Snapchat, etc.) and the second screen applications (TVShow Time, TV Tag, Viggle, etc.) synchronously to the programming griddisplay. By establishing a symbiotic relationship between the television and the cyberspace, the phenomenon potentializes and reconfigures the conversation around the television content and the collective experience. In this sense, this master thesis aims to discuss how the social TV reinforces the concept of social bond developed by Wolton (1996). In other words, if the author proposed the understanding of the social bond as a shared experience that approachesthe viewers and the different communities that constitute a society, establishing then a common knowledge among them, the phenomenon not only enhances this aspect, but also provides the formation of momentary communities and collaborative webs in the backchannel.In this context, the social TV actions adopted by the american channel Fox to engage the viewers and the way the publications dialog with the fictional universe of the series The X-Files were analyzed. Created by Chris Carter, the plot is starred by the FBI agents Fox Mulder (David Duchovny) and Dana Scully (Gillian Anderson). Mulder and Scully are investigators of unsolved cases involving paranormal phenomena, known as x-files. Therefore, we conducted a study on the strategies promoted by the american broadcaster for the episodes of the The X-Files tenth season and analyzed the content (comments, memes, photos, montages, etc.) shared by the interacting viewers on Twitter during the exhibition of the attraction. In this way, we concluded that, by interlacing the TV stream and the always on temporality of the Twitter, the social TV reinforces the social side of Wolton (1996) and re-signifies the television experience, allowing new forms of participation, collaboration and expansion of the fictional universe. Keywords: Social TV. Social bond.Twitter. Fictional series.The X-Files. LISTA DE ILUSTRAÇÕES Figura 1: Espectadores assistem o noticiário através do téléphonoscope......................60 Figura 2: O anúncio do Qube destaca as funções do aparelho. ...................................... 63 Figura 3: Trecho do episódio de MST3K mostra a estética visual destacada por Harboe (2009)..........................................................................................................................64 Figura 4: Interface do SMS TV Chat. ............................................................................ 65 Figura 5: O conjunto ‗Integração das Plataformas‘ representa a abordagem das ciências exatas e o conjunto ‗Sociabilização e Conversação‘ representa a abordagem das ciências humanas. ......................................................................................................................... 68 Figura 6: Cada um dos conjuntos acima representa uma forma de atuação da segunda tela. A social TV, conjunto em destaque, indica o compartilhamento de conteúdos através das redes sociais e aplicativos de segunda tela de maneira síncrona a exibição da grade de programação. .................................................................................................... 70 Figura 7: Os adesivos da série True Blood ressaltam expressões usadas pelos personagens da trama...................................................................................................... 75 Figura 8: Breaking Bad Story Sync indica as referências do episódio para o telespectador interagente. ............................................................................................... 85 Figura 9: As postagens no Twitter e no TVShow Time mostram a coexistência de linguagens na conversação em rede................................................................................ 95 Figura 10: O perfil no Twitter @PLLbigA pede os telespectadores interagentes para compartilharem suas teorias sobre a narrativa durante a exibição da série Pretty Little Liars...............................................................................................................................103 Figura 11: Os atores Sarah Drew e Jesse Williams participam de um livre chat no Twitter durante a exibição de Grey’s Anatomy. ........................................................... 104 Figura 12: Durante a exibição de Bates Motel o canal A&E convidou o público para participar de um bate papo com Carlton Cuse. ............................................................. 106 Figura 13: Diagrama da seção ‗Monitoramento Ações Fox‘. ...................................... 113 Figura 14: Diagrama da seção ‗Transmídia‘. ............................................................... 114 Figura 15: Diagrama da seção Ações de Engajamento Direcionadas‘. ........................ 115 Figura 16: Diagrama da seção ‗Pré Estreias‘...............................................................
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