No shame to play: Ludic prosumption on Brazilian fanvideos

André Luiz Maranhão De Souza-Leão,Walber Kaíc Da Silva Nunes,Italo Rogerio Correia De Santana,Vitor De Moura Rosa Henrique,Bruno Melo Moura

doi:10.1108/rege-04-2019-0043

André Luiz Maranhão De Souza-Leão, Walber Kaíc Da Silva Nunes + Show 3 more

Open Access

https://doi.org/10.1108/rege-04-2019-0043

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Abstract

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.

Highlights

Technological changes have significant impact on different cultural spheres (Levy, 2007)
The patterns of play identified in the analyzed Brazilian fanvideos have indicated the use of pop culture narratives as a way to have fun through a variety of practices performed in different contexts
Brazilian fanvideos have shown that plays based on successful pop culture franchises are ludic prosumption experiences

Summary

Introduction

Technological changes have significant impact on different cultural spheres (Levy, 2007). Pop culture, which has become a significant means of disseminating and legitimizing globalization, is one of these spheres (Kizgin, Jamal, & Richard, 2018; Pen~aloza, 1994), whose strength is mainly ground on media product fans (Hills, 2013). Fans stand out for their significant involvement in, and affectivity toward, products consumed by them and show proactivity and organization in their practices (Jenkins, 2006; Kozinets, 2001). By means of “poaching” acts, they seek a variety of contents about media products consumed by them, which they appropriate to and re-signify; they become co-producers of their own consumer experience.

Objectives

Conclusion