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The Bad Things I Have Done with You: Brazilian Audience’s Appropriations of True Blood’s Fictional Universe || Las cosas malas que te hice: Las apropiaciones del público brasileño del universo ficcional de True Blood || As coisas ruins que eu fiz para você: As dotações brasileira público o universo ficcional de True Blood

Resumen

In this article, we present results of a survey designed to explore how Brazilian viewers of HBO’s True Blood interact with its world-building characteristics. The main goal is to understand in depth the viewers and their relations with the series storyworld. The general assumptions of this article, as well as the basis that generated the questions of our survey, are derivative of participatory culture issues. This means that we use the lens of participatory culture theoretical framework to understand how TV viewers interact with the media they consume. The data were obtained with the application of an online survey between March 21 and March 28, 2014. We were able to reach non-fans, regular viewers (0, 7%, n=2), moderate fans (29, 3%, n=83), and hardcore True Blood fans (70%, n=198) as well. Despite the possible sample biases (e.g. people who consume fan-generated content), we believe we could reach a diversified amount of True Blood viewers. In total, we had 283 respondents. Our goal was that the questions of the survey encompassed with special attention the audience’s relationship with the fictional world, and, because of that, we decided to take into account certain theoretical issues that academic works on the theme highlight. The issues chosen were authentication, saturation, consistency, and accessibility, which we believe that it was expressed well through the survey’s questions. To test the possible relationships among the variables considered in this study, we applied a bivariate analysis through the crossing of all quantitative variables, two by two. We calculated Pearson product-moment correlation coefficient to each of such relations, aiming at the verification of tendencies, influences, or coincidences. All the statistical analysis were electronically processes through SPSS - Statistical Package of Social Science.

En este artículo, presentamos los resultados de una encuesta diseñada para explorar cómo los espectadores brasileños de True Blood (HBO) interactúan con sus características de construcción de mundo. El objetivo principal es entender en profundidad los espectadores y sus relaciones con el mundo de la historia de la serie. Las suposiciones generales de este artículo, bien como las bases que han generado las preguntas de la encuesta, son derivados de cuestiones de la cultura participativa. Esto significa que se utilizó las lentes del marco teórico de la cultura participativa para entender cómo los espectadores de la televisión interactúan con los medios que consumen. Los datos han sido obtenidos con la aplicación de una encuesta online entre el 21 de marzo y el 28 de marzo de 2014. Entre los fans de True Blood, alcanzamos a los no aficionados, a espectadores regulares (0,7%, n = 2), a los aficionados moderados (29,3%, n = 83), y también a los fans incondicionales (70%, n = 198). A pesar de las posibles tendencias de las muestras (por ejemplo, la gente que consume contenido creado por los fans), creemos que llegamos a alcanzar a una cantidad diversificada de espectadores de True Blood. En total, tuvimos 283 encuestados. Nuestro objetivo era que las preguntas de la encuesta abarcaran con especial atención la relación del público con el mundo ficcional y, por lo tanto, decidimos tener en cuenta ciertas cuestiones teóricas que de las más destacadas entre trabajos académicos. Las cuestiones elegidas fueran autenticación, saturación, consistencia y accesibilidad, las cuales creemos haber sido bien expresadas a través de las preguntas de la encuesta. Para probar las posibles relaciones entre las variables consideradas en este estudio, aplicamos un análisis de dos variables a través del cruce de todas las variables cuantitativas, de dos en dos. Calculamos el coeficiente de correlación producto-momento de Pearson para cada una de estas relaciones, buscando la verificación de las tendencias, influencias o coincidencias. Todos los análisis estadísticos han sido procesados electrónicamente a través del SPSS - Statistical Package of Social Science.

Neste artigo, apresentamos os resultados de um inquérito concebido para explorar a forma como os espectadores brasileira True Blood (HBO) interagem com a sua construção de mundo. O principal objetivo é compreender em profundidade os espectadores e as suas relações com o mundo da história da série. As premissas gerais deste artigo, bem como os fundamentos que criaram as perguntas da pesquisa são derivadas de questões de cultura participativa. Isto significa que as lentes do referencial teórico da cultura participativa para entender como os telespectadores interagir com a mídia que consomem é usado. Os dados foram obtidos com a realização de um inquérito on-line entre 21 de Março e 28 de março de 2014. Entre os fãs de True Blood, conseguimos não-fãs, espectadores regulares (0,7%, n = 2 ), os fãs moderados (29,3%, n = 83), e também os fãs hardcore (70%, n = 198). Apesar das possíveis tendências de amostras (por exemplo, as pessoas que consomem o conteúdo criado por fãs), acreditamos que podemos alcançar um número diversificado de espectadores de True Blood. No total, tivemos 283 respondentes. Nosso objetivo era que as perguntas da pesquisa cobrir com especial atenção a relação do público com o mundo fictício e, portanto, decidiu considerar certas questões teóricas do mais proeminente entre os trabalhos acadêmicos. As perguntas foram escolhidas de autenticação, saturação, consistência e acessibilidade, o que acreditamos ter sido bem expressa através das perguntas da pesquisa. Para testar as possíveis relações entre as variáveis consideradas neste estudo, foi aplicado um bivariada através do cruzamento de todas as variáveis quantitativas, dois a dois. Nós calcular o coeficiente de correlação do momento do produto Pearson para cada um desses relacionamentos, busca de verificação de tendências, influências e coincidências. Todas as análises estatísticas foram processadas eletronicamente através do SPSS - Statistical Package for Social Science.

Palabras clave

Brazilian Audience, American Television, Fictional Universe, True Blood, Participatory Culture, Fan Culture.

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Biografía del autor/a

Rodrigo Lessa

Rodrigo Lessa. He is Ph.D. candidate at the Graduate Program on Contemporary Communication and Culture, in Salvador da Bahia, Brazil. His doctoral internship was at the University of Hertfordshire (United Kingdom), where he worked as Visiting Professor (TV Drama, undergrad classes) and Visiting Researcher under supervision of Professor Dr. Steven Peacock. Rodrigo Lessa holds a Master degree in Contemporary Communication and Culture and a Bachelor degree in Social Communications (with an emphasis on Journalism). He is currently a member of the Brazilian research group A-Tevê – Laboratory of Television Analysis (UFBA – Brazil) and of the transnational collective Obitel – Ibero-American Observatory of Television Fiction. His current work is on media convergence, television serial drama, transmedia storytelling, fan cultures and fanfiction.

João Araújo

João Araújo. He is Ph.D. candidate at the Graduate Program on Contemporary Communication and Culture, in Salvador da Bahia, Brazil. He holds a Master degree in Contemporary Communication and Culture and a Bachelor degree in Social Communications (with an emphasis on Journalism). He currently holds a Capes Foundation scholarship, and is a member of the Brazilian research group A-Tevê – Laboratory of Television Analysis (UFBA – Brazil) and the transnational collective Obitel – Ibero-American Observatory of Television Fiction.

Júnia Ortiz

Júnia Ortiz. She is a Ph.D. candidate in Contemporary Communication and Culture at Federal University of Bahia, Brazil. She was a Fulbright Visiting Scholar at MIT Comparative Media Studies (2014-2015) under supervision of Professor Dr. William Uricchio. Her research interests include online communities, media convergence, Social Television, and audience studies.


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