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UNIVERSIDADE FEDERAL DE MINAS GERAIS Programa De Pós-Graduação Em Comunicação Social

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UNIVERSIDADE FEDERAL DE MINAS GERAIS Programa De Pós-Graduação Em Comunicação Social UNIVERSIDADE FEDERAL DE MINAS GERAIS Programa de Pós-Graduação em Comunicação Social Emmanuelle Cristine Dias Miranda DINÂMICAS DE DISTRIBUIÇÃO E CIRCULAÇÃO DE SÉRIES ORIGINAIS NETFLIX: um estudo de caso de House of Cards Belo Horizonte 2017 Emmanuelle Cristine Dias Miranda DINÂMICAS DE DISTRIBUIÇÃO E CIRCULAÇÃO DE SERIES ORIGINAIS NETFLIX: um estudo de caso de House of Cards Dissertação apresentada ao Programa de Pós- graduação em Comunicação Social da Universidade Federal de Minas Gerais como requisito parcial para obtenção do título de Mestre em Comunicação Social. Orientadora: Geane Carvalho Alzamora Linha de pesquisa: Textualidades Midiáticas Belo Horizonte 2017 Miranda, Emmanuelle Cristine Dias 301.16 Dinâmicas de distribuição e circulação de séries M672d originais Netflix [manuscrito]: um estudo de caso de 2017 House of Cards / Emmanuelle Cristine Dias Miranda. - 2017. 172 f. : il. Orientadora: Geane Carvalho Alzamora. Dissertação (mestrado) - Universidade Federal de Minas Gerais, Faculdade de Filosofia e Ciências Humanas. Inclui bibliografia. 1.Netflix (Firma) - Teses. 2. House of cards (Programa de televisão) – Teses. 3. Comunicação – Teses.I.Alzamora, Geane Carvalho. II. Universidade Federal de Minas Gerais. Faculdade de Filosofia e Ciências Humanas. III.Título. Para Felipe, meu companheiro de mestrado e de vida. AGRADECIMENTOS Aos meus pais, Joaquim e Angélica, agradeço por oferecerem condições para que eu ingressasse em uma universidade pública e, ainda, continuasse os estudos na pós-graduação. Ao meu irmão Evandro, por dividir alegrias, tristezas e por toda ajuda no difícil ano de 2016. Obrigada também a toda família do Felipe Borges, Virgínia, Luiz Carlos, Luiz Paulo, Hérica e Thiago, por me acolherem e cederem um importante espaço para elaboração desse trabalho. À minha orientadora Geane Alzamora, professora atenciosa e dedicada. Não tenho palavras suficientes para agradecer por todo apoio, toda ajuda e orientação. Seus comentários e suas sugestões contribuíram não apenas para meu amadurecimento acadêmico, mas também profissional e pessoal. Sem mais! Obrigada aos professores e funcionários do PPGCOM, que contribuíram (e muito) para esta dissertação e para minha formação como mestre: Carlos d’Andréa, Elton Antunes e, especialmente, Joana Ziller e Bruno Leal, pelas valiosas colaborações na banca de qualificação, que foram essenciais para o desenvolvimento da dissertação. Obrigada Soraya Vieira por aceitar participar da banca de defesa e pelas contribuições. Às queridas amigas e aos queridos amigos, Denise Cecília, Letícia Lopes, Bárbara Profeta, Samuel Andrade, Jéssica Antunes, Hannah Serrat, Nuno Manna, Phellipy Jácome e Clarissa Vieira (responsável pela revisão tão cuidadosa do texto). Aos queridos amigos e companheiros de mestrado, Maiana Abi (autora da incrível capa deste trabalho) e Bruno Fonseca, que tornaram esse trajeto acadêmico mais agradável e prazeroso. Às queridas colegas de linha, Vanessa Costa, Prussiana Fernandes, Juliana Soares e Bárbara Caldeira. Obrigada colegas do NucCon pelo aprendizado conjunto, especialmente, Vitória Barros, Tiago Salgado e Polyana Iris. Ao PPGCOM UFMG pela possibilidade de realização do Mestrado e à Capes por viabilizar financeiramente essa trajetória. Por fim, mas não menos importante, agradeço imensamente a Felipe Borges, por toda paciência nos momentos mais críticos, pela dedicação e pelo apoio não somente nesse percurso do mestrado, mas em todos os anos juntos. Muito obrigada por todo amor e carinho. Este trabalho não seria nem a metade do que é sem você! RESUMO Este trabalho investiga como se caracterizam as dinâmicas de distribuição e circulação de séries originais Netflix, buscando compreender em que medida especificam processos de convergência audiovisual. Partimos da descrição do cenário comunicacional em que Netflix emergiu nos anos 1990 para distinguir aspectos midiáticos que caracterizam a companhia contemporaneamente. Tomamos a noção de dispositivo midiático como gesto metafórico para compreender o arranjo midiático configurado por Netflix. Tal recurso metafórico nos auxiliou a compreendê-la como fenômeno de convergência cuja disposição de rede articula os seguintes elementos: a) streaming, b) arquitetura multitelas, c) sistema de recomendação e d) extensão em redes sociais on-line. Relacionamos os aspectos streaming e arquitetura multitelas às dinâmicas de distribuição, e sistemas de recomendação e extensões em redes sociais on-line aos modos de circulação de Netflix. Com base nessa perspectiva, descrevemos as dinâmicas de distribuição e circulação da quarta temporada da série House of Cards. Optamos por esse título, pois a série se estabeleceu como modelo inaugural de produção adaptado às circunstâncias midiáticas de Netflix, modelo esse que se estendeu para as demais produções originais. A coleta de dados, realizada entre 04/03 e 04/04/2016, se restringiu às conexões multitelas do sistema Netflix (acessadas via Site, SmartTV, Smartphone e Tablet) e a seus perfis oficiais no Facebook e no Twitter, levando em conta também os perfis específicos de House of Cards nessas redes sociais on-line. Adotamos técnicas de amostragem aleatória no estudo de caso. Concluímos que as dinâmicas de distribuição de House of Cards são organizadas em prol de acesso instantâneo e razoavelmente homogêneo, o que implica pico de destaque da série nas conexões de Netflix. Já as dinâmicas de circulação se configuram prioritariamente em função daquilo que o sistema Netflix organiza e sugere, em detrimento das preferências dos usuários. Tal estratégia de destaque se estendeu para os perfis no Twitter e no Facebook, nos quais foram realizadas postagens frequentes de conteúdos exclusivos da série. Essas publicações se ajustaram a contextos socioculturais específicos – por exemplo, o cenário político brasileiro – em dinâmicas de apropriação social que extrapolaram o período de lançamento da quarta temporada da série. Caracterizamos a dinâmica de circulação não apenas como convergente, mas também como transmidiática. As dinâmicas de distribuição e circulação de House of Cards são, portanto, complementares, uma vez que convergentes, mas sutilmente distintas, o que torna o arranjo midiático de Netflix heterogêneo, maleável e susceptível às contingências dos contextos sociais, políticos e culturais que atravessa. Palavras-chave: Netflix. Dispositivo midiático. Séries. Convergência. Transmídia. ABSTRACT This work investigates how the dynamics of distribution and circulation of original Netflix series are characterized, trying to understand how they specify processes of audiovisual convergence. We start from the description of the communication scenario in which Netflix emerged in the 1990s to distinguish media aspects that characterize it contemporaneously. We take the notion of media dispositive as a metaphorical gesture to understand the media arrangement configured by Netflix. This metaphorical concept helped us to understand it as a convergence phenomenon whose network layout articulates the following elements: a) streaming, b) multiscreen architecture, c) recommendation system, and d) extension in online social networks. We relate the aspects of streaming and multiscreen architecture to the distribution dynamics, and recommendation system and extensions in online social networks to Netflix's circulation modes. Based on this perspective, we describe the distribution and circulation dynamics of the fourth season of the original series House of Cards. We chose this ficcional series by establishing itself as the inaugural model of production adapted to the media circumstances of Netflix, which extended to others original productions. The data collection, conducted between 03/04 and 04/04/2016, was restricted to the multiscreen connections of the Netflix system (accessed by Website, SmartTV, Smartphone and Tablet) and to its official profiles on Facebook and Twitter, taking into account also the specific profiles of House of Cards on these online social networks. We adopted random sampling techniques in this case study. We conclude that the House of Cards distribution dynamics are organized for instantly and homogeneous access, which implies the series' peak of prominence in Netflix connections. Alternatively, the dynamics of circulation had are configured primarily as a function of what the Netflix system organizes and suggests, to the detriment of users' preferences. This strategy of prominence extended to the profiles on Twitter and Facebook, in which frequent postings were made of exclusive content of the series. These publications fit specific socio-cultural contexts - for example, the Brazilian political scenario - in social appropriation dynamics that extrapolated the premiere period of the fourth season of House of Cards. We characterize the dynamics of circulation not only as convergent, but also as transmedia. The distribution and circulation dynamics of House of Cards are therefore complementary, since they are convergent but subtly distinct, which makes the Netflix media arrangement heterogeneous, malleable and susceptible to the contingencies of the social, political and cultural contexts it undergoes. Keywords: Netflix. Media Dispositive. Series. Convergence. Transmedia. LISTA DE FIGURAS Figura 1 – Primeiro logo de Netflix lançado em 1998 ................................................ 22 Figura 2 - Mapa lançado em 2016 com todos os países onde Netflix está presente.26 Figura 3 - Total de vídeos do catálogo de Netflix por país ........................................ 28 Figura
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