CECC - Documentos de Conferências / Conference Objects
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- Affective infrastructures of fandom: Swiftie videos, participatory authorship, and the co-production of celebrity culture in Taylor Swift’s Eras TourPublication . Müller, Naíde; Ganito, Carla; Ferreira, Cátia; Tavares, Patrícia; Simão, JoãoTaylor Swift’s Eras Tour has become a defining popular-cultural event of the 2020s not only through its unprecedented scale and commercial success, but through the participatory practices it generates and intensifies across digital platforms. Beyond the official stage production, the tour circulates through vast quantities of fan-made images and videos that transform live performance into a distributed archive of feeling and a shared repertoire of belonging. This paper examines how Swifties use fan-recorded concert videos as forms of participatory authorship and how these vernacular audiovisual practices visually encode collective identity across online and offline contexts. Building on scholarship on participatory culture and convergence (Jenkins, 2006), connective fandom (Fuller, 2017), and affect as a social force in networked publics (Ahmed, 2004; Papacharissi, 2015), the study approaches fandom not as a passive audience response but as a set of cultural practices through which meaning, emotion, and collective identity are co-produced. In line with recent work on choreographed participation in contemporary celebrity culture (Bengtsson & Edlom, 2023), we argue that fan engagement during the Eras Tour is simultaneously structured and expressive, shaped by the affordances of the live concert setting and by shared interpretive frameworks circulating within Swiftie culture. Empirically, the study draws on a qualitative corpus of 130 fan-generated videos collected between June 2024 and February 2025 through an international online questionnaire administered in Portuguese and English. Participants were asked to upload a short clip recorded during an Eras Tour concert that they considered emotionally significant and to explain why that moment mattered to them. This dual-layer dataset captures both the embodied, sonic, and visual dimensions of the concert experience and the reflective narratives through which fans articulate meaning, memory, and attachment. The analysis follows a thematic approach (Braun & Clarke, 2006) using a hybrid deductive–inductive logic informed by theories of participation, affective publics, and popular culture. Two research questions guide the study: (1) How do fans mobilise video-making and sharing during the Eras Tour as practices of participatory authorship and affective expression? (2) In what ways do fan-generated videos and their accompanying narratives construct and visually encode collective identity within Swiftie culture? Findings show that fans’ filming choices are patterned rather than incidental. Many clips foreground affective intensity through close framings of faces, hands, and bodily gestures, while unstable or “shaky” camerawork operates as a material trace of embodied emotion. Recording is frequently synchronised with climactic lyrical or musical moments, suggesting that fans treat the performance as a participatory script and translate private emotion into a culturally recognisable resource. At the level of collective identity, videos repeatedly turn the lens towards the crowd, capturing choral singing, coordinated gestures, and ritualised practices such as the display and exchange of friendship bracelets. These moments function as visual proofs of belonging and reposition fandom as a co-protagonist of the concert narrative rather than a background presence. Circulated on social media, such videos extend the temporal and spatial boundaries of the live event, allowing individual memories to be re-inscribed within a shared affective archive. Conceptually, the paper argues that fan-recorded concert videos operate as affective infrastructures: micro-narratives that connect peripheries and centres by stitching embodied experience, digital circulation, and collective myth-making. In doing so, Swifties contribute to the co-production of celebrity culture and demonstrate how contemporary popular music events are archived, narrated, and sustained through networked participatory cultures.
- Narrating values inside and outside the organisation: how do the top management espoused values shape organisational ethical reputation?Publication . Tavares, PatríciaCorporate reputation is an increasingly valuable intangible organisational asset. Reputation is perceptual, multidimensional, multi-themed, specific, and stakeholder dependent. Still, understanding the process of reputation formation is a challenge. The social construction approach to reputation uses stakeholder theory to understand how corporate reputation is formed. Stakeholder theory (Freeman, 2014) restores the centrality of values in organisational strategy, thereby setting the tone for the development of responsible management, responsible leadership and responsible strategic communication. Values through conversation (Freeman & Auster, 2011) address the dynamics of organisational values and their central role in strategy definition and organisation behaviours, stating that organisational leadership is responsible for starting this conversation. The organisational values adopted by the organisation's top management (espoused values) influence organisational dynamics. Still, studies on the connections between the values adopted by organisational top management and their visibility and effects on internal and external stakeholders are scarce. The main gap this study addresses is how the values that the top management espouses (Bourne and Jenkins, 2013; Freeman and Auster, 2011) for the organisation, enter the corporate reputation formation process (Ravasi et al., 2018), specifically the ethical character of the organisation (Chun, 2005.) The purpose of this study is then to understand how top management's espoused values shape corporate reputation. Resorting to a qualitative, processual approach and a narrative construction strategy, 62 in-depth interviews were conducted. First, with members of the management team of the largest Portuguese radio group and afterwards with various internal and external stakeholders. Interviews with 39 internal organisational members, from most of the organisation's departments, at several levels and diverse functions and 23 external organisational stakeholders, including clients, partners, commentators, artists, and beneficiaries. Also, archival data on cases and events identified in the interviews, totalling 28 cases, completed the data corpus for analysis. Using thematic analysis followed by narrative elaboration, 5 narratives emerged attesting to the ethical reputation stemming from top management's espoused values and their circulation within the organisation through individual perceptions, strategic internal and external communications, and events. Findings identify a process through which the salience of the values adopted by top management (espoused values) enters the organisation’s ethical reputation formation process. By examining the complex dynamics between top management's espoused values and the intricacies of how these values are perceived by internal and external stakeholders, this research advances knowledge on the shaping of communication flows within and outside the organisation. Specifically, by eliciting this process in the media sector, this study elaborates on the perceived ethical stances of a medium with two distinct yet intertwined missions: information and entertainment. This research thus responds to the call for a more fine-grained and deeper understanding of the corporate reputation formation process (Ravasi et al., 2018) and, particularly, the formation of the organisation's ethical character, or its reputation for being ethical (Chun, 2005). By tracing the “circulation” of espoused values inside the organisation, from their identification to their cueing for internal stakeholders, through organisational relationships, communications, and events, espoused values become available cues to external stakeholders, through the same mechanisms, and enter the ethical corporate reputation formation process. By examining organisational values dynamically, this work reinforces the importance of values as dynamic entities, available for reflection and conversation, as Auster and Freeman (2011) state. In addition, it operationalises their framework through Bourne and Jenkins's (2013) framework of organisational values, linking the literature on stakeholder theory and organisational values and informing organisational strategic communication. It proposes that the attributed values category from Bourne and Jenkins (2013) framework is useful in assessing both internal and external stakeholders' perceived values, and contributes to understanding organisational identity formation. It also reinforces the Bourne and Jenkins (2013) framework as an approach to organisational values, as perceived by both internal and external stakeholders. It supports the central role of values in stakeholder theory and their association with organisational intangibles, such as identity and ethical corporate reputation, particularly in its formation process (Ravasi et al., 2018). This process maps the values “circulation” within the organisation and their diffusion to internal and external organisational stakeholders, through relationships, organisational communications, and events. It also displays the mechanisms that lead to this diffusion, as well as the tuning and integration by organisational internal and external stakeholders. This process advances theory on the formation of corporate reputation. Specifically, it deepens understanding of the formation of an organisation's ethical reputation and how cues from organisational top management espoused values enter this process. The same proposed process is also useful when planning both internal and external communications to the organisation’s multiple stakeholders. For the industry, identifying a process to assess, discuss, and understand the circulation of espoused values within the organisation, and their queueing in ethical corporate reputation building, enables awareness, reflection, and management of internally and externally communicated espoused values. It also allows for developing more authentic and integrated communications strategies and raising the opportunity to elaborate strategy-focused communications evaluations, with a long-term focus, that align with the organisation's purpose and behaviours. Having a process to identify, reflect on, and understand the effects of espoused values on organisational internal and external stakeholders enables planning, assessing different values “clusters,” and identifying internal tensions. It also helps in understanding internal and external relationships with organisational stakeholders and acting on potential arising tensions.
- The control of screens and collective imagination: TV news and contemporary activism in PortugalPublication . Müller, NaídeThe deep crisis of confidence affecting advanced industrial democracies that extends to the new and more recent democracies is creating a fertile ground for the growth of "populisms” that can affect significant activist historical achievements regarding basic human and civil rights. The debates about how social networks are contributing to this reality reinforces the need to strengthen the basic institutional and democratic functions of traditional media. In Portugal and in Europe television remains the most common medium used by citizens to access information, so it is important to present citizens other possibilities for public participation with the capacity to assert a set of social "counter-powers". The production of fictional realities increased by digital environments can be seriously detrimental to some audiences and postmodern PR professionals will necessarily have to adopt a critical attitude and vigilant of "meaningless communication" patterns. This article presents preliminary data on the representation of contemporary activist movements in the television news of the four generalist Portuguese freeto-air channels and approaches the possibilities for media professionals, as symbolmakers in hyperreality contexts, on counteracting the tendencies towards the standardization of beliefs in ways that can contribute to help activists, who defend democratic values, to reach the television screens.
- Representação do ativismo (por direitos humanos e não humanos) na informação televisiva em PortugalPublication . Müller, NaídeEm Portugal a televisão continua a ser o meio privilegiado da grande maioria dos cidadãos para ter acesso à informação (Burnay e Ribeiro, 2016:6) e os noticiários televisivos são, pela sua representatividade, uma das principais fontes para a construção social da realidade (Brandão, 2010:134)
- Cold war nostalgia and political utopia in Nanni Moretti’s Il Sol dell’avvenire (2023)Publication . Mason, MatthewThis paper seeks to offer a critical reading of Nanni Moretti’s recent film Il Sol dell’avvenire (2023) – A Brighter Tomorrow (in English) – and, more specifically, the ways in which the film engages with the important tradition of Italian Communism and the world-historical events of the Soviet crushing of the Hungarian uprising in November 1956. By making direct reference to the events in Budapest in 1956, and by playfully providing an alternative historical direction for the Italian Communist Party (PCI) itself, it will be suggested that the film, quite paradoxically, both seeks to provoke a serious engagement with this important historical moment and, at the same time, reduces the representation of it, by nature of its general comedic tone, to one of parody or ‘pastiche’ (Jameson 1991). The paper intends to analyse the way in which the film uses décor, costumes and props as well as historical footage to stage its playful representation of the past and will consider the ways in which such representation conforms to, as well as contradicts, Fredric Jameson’s description of the ‘nostalgia film’ (1991, 2007). It will be suggested that the film to some extent problematises this notion through its perceived interest in political utopia and its alternative, optimistic vision of the future, something that Jameson suggested had been lost in the postmodern. At the same time, however, with its overarching playful tone, the film can be seen to effectively neutralise such perceived utopianism by falling back into its own ‘postmodern’ irony.
- "Never grow-up": a life course approach to aging Taylor Swift fansPublication . Ganito, Carla; Tavares, PatríciaSwifties are one of the most devoted fan bases in the world, and according to Statista (2023) 45 per cent of Swift's US fans are millennials, 21 per cent are Gen X and 25 per cent are Boomers. Through a life course approach, the paper explores how senior swifties self-represent and are represented. We explore senior swifties self-narravitization and their narratives of later life fandom. This research resorts, as a primary data collection method, to a thematic categorical analysis of video content collected from audiences present at Taylor Swift’s “Eras Tour”, at various locations, and to content analysis of media representations, and online communities of senior swifties. We will highlight how aging in and with fandom challenges stereotypes, allow for new forms of affect and agency, and the emergence of new role models for later life. This diverse fan base also allows for intergenerational dialogue.
- The eras of our lives: hauntology, fabricated nostalgia, and the paradox of memory in the digital agePublication . Ganito, Carla; Ferreira, Cátia; Tavares, Patrícia; Simão, JoãoThis paper explores the intersection of collective memory and contemporary musical consumption, examining how music acts as a vessel for both personal identity and social cohesion. Music-evoked autobiographical memories are characterized by a "reminiscence bump," where songs from adolescence evoke heightened emotional responses and vivid recollections. Using the cultural phenomenon of Taylor Swift’s "Eras Tour" as a case study, this research investigates how live performance functions as a "trip down memory lane," allowing audiences to relive distinct developmental chapters of their lives,. However, this paper argues that contemporary musical memory is complicated by "retro culture" and the digital age, creating a specific "generation unit" of fans who experience "vicarious cultural memories" of pre-biographical eras they never lived through. Drawing on the concept of "hauntology"—a paradoxical longing for a lost future—this study analyzes how digital technologies blur temporal boundaries. While digital platforms provide unprecedented access to archival music and fan videos, they simultaneously encourage "fabricated nostalgia" and "timbral nostalgia”. Furthermore, the paper addresses the cognitive paradox of "post-concert amnesia," where the high arousal of the "experiencing self" overrides the "remembering self," resulting in a fragmentation of the very memories fans seek to encode. For example, Taylor Swift actively fosters "fabricated nostalgia" by releasing albums with exclusive materia l content and aesthetics. This strategy allows fans to engage in "timbral nostalgia," using material media to anchor their emotional connections to the music in an increasingly digital world. This aligns with the broader behavior of fans using material objects to anchor memories, similar to how concertgoers might rely on physical tokens or "reminiscence bumps" to solidify memories that might otherwise be lost to "post-concert amnesia”. Drawing on a qualitative analysis of 171 fan-generated videos collected internationally between 2024 and 2025, this study investigates how fans mobilize "affective resonance" to translate personal nostalgia into collective identity. Ultimately, this research posits that music listening today is a negotiation between the technological determination of memory and the desire for an authentic "structure of feeling" in an era defined by retromania.
- Estratégias de comunicação para a diversidade e inclusão no setor bancário – estudo de caso banco SantanderPublication . Simão, João Duarte Borges Martins de Vasconcelos; Curvelo, Rita; Tavares, PatríciaO tema da diversidade e inclusão tem assumido uma crescente importância para a investigação em estratégia e comunicação. Partindo de uma abordagem da organização suportada pela teoria de stakeholders (Freeman, 2010; Freeman et al.; 2010, Freeman, 2014), conceitos mais recentes como a gestão responsável e a liderança responsável (Carroll et al, 2020; Freeman & Lassch, 2020) incorporam de forma mais explícita a pertinência de a organização considerar as necessidades de todos os seus stakeholders, e de refletir essa opção na sua estratégia de comunicação, interna e externa. Mais do que iniciativas avulsas, a integração de políticas de diversidade e inclusão espelha um compromisso da organização, desde a atração de talentos, até aos relacionamentos que desenvolve com todos os stakeholders. Dar visibilidade a esse compromisso passa a ser um ativo estratégico presente em iniciativas de comunicação interna e externa. Compreender a importância da comunicação eficaz enquanto estratégia para promover a inclusão é fundamental para a evolução destas instituições, sendo temáticas que começam a ser aplicadas no setor bancário (Bates & Patel, 2023; Lin, 2020). A adoção de uma comunicação que promova a igualdade de oportunidades e a diversidade, irá beneficiar os colaboradores em termos de integração, bem-estar ou sentimento de pertença e, por conseguinte, as próprias organizações, quer em termos de produtividade e alcance de resultados, quer em termos de melhoria da sua reputação. Deste modo, é objetivo do presente estudo dar a conhecer a estratégia de comunicação adotada pelo Banco Santander, em Portugal, em prol da diversidade e inclusão social, em particular a respetiva elaboração e operacionalização em termos de storytelling e ações de comunicação internas e externas. Tratando-se de uma abordagem exploratória, o principal objetivo desta investigação centra-se na análise e compreensão da estratégia de comunicação e inclusão da instituição bancária referida. Este estudo de caso foi construído tendo por base entrevistas semiestruturadas a profissionais do Banco Santander responsáveis pela sua estratégia de comunicação para a diversidade e inclusão, bem como a chefias intermédias desta instituição bancária. Foram igualmente analisados documentos internos e materiais de comunicação da referida organização por forma a melhor estudar a sua estratégia de inclusão, de modo a obter um melhor entendimento sobre o caminho percorrido pelo Banco Santander em matéria de boas práticas para a integração e respeito pelas diferenças individuais e como essas boas práticas se refletem noutros indicadores de gestão, como a satisfação organizacional, a reputação e a intenção de permanecer na organização. Este estudo de caso visa igualmente proporcionar um maior conhecimento sobre como este tipo de estratégias pode ajudar as organizações a melhorar a sua confiança junto de diferentes stakeholders, acrescentando valor social, profissional e bem-estar organizacional.
- The quiet strength of virtues: bridging perception of meaningful work and organizational citizenship behaviorPublication . Soares, Maria Eduarda; Ferreira, Manuel; Tavares, Patrícia
- Deaf identities and the emergence of deaf gainPublication . Gil, Cristina Isabel CacionesDeaf culture bonds Deaf communities as supranational entities that share an imaginary which allows a connection at a global level. The fluidity in the understanding between two Deaf people from opposite sides of the world through signed languages is a surprising phenomenon. Throughout his life, a Deaf individual who uses sign language is permeated with translations and mediations as well as a feeling of being like a stranger in their own country, not sharing the common sensorial acuity that is required for canonical communication among the hearing. Hence, the Deaf are (usually) bilingual, bimodal and surrounded by intermodal translations and interpretations. In this way, it is important to discuss how identification and ascription processes occur in the Deaf, and how Deaf Identities can surface differently, as the prevalent presence of stigma can ultimately contaminate these processes. The Deaf population encompasses people with different hearing loss (or can we say ‘Deaf Gain’?), different language and communicational choices and consequently different Deaf identities. Considering the Deaf Communities’ heterogeneity, a jigsaw puzzle can be formed by its multiple identities and signed languages. This perspective is one of the premises of ‘Deaf Gain’, a concept that has been groundbreaking during the last years in Deaf Studies.