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- Audiências e cross-media: estudo de padrões de consumo de notícias em PortugalPublication . Silva, Marisa Torres da; Figueiras, Rita; Brites, Maria José; Amaral, Inês; Maropo, Lídia; Santos, Sílvio Correia; Jerónimo, Pedro; Santo, Paula Espírito; Pacheco, LilianaAs práticas digitais que decorrem da ubiquidade dos media e da sua utilização possibilitaram a combinação de múltiplas plataformas no consumo de notícias. Neste artigo, procurámos identificar repertórios mediáticos (padrões de uso dos media noticiosos) em Portugal, de modo a compreender como são construídas as preferências mediáticas das audiências e de que forma o consumo noticioso integra osseus hábitos quotidianos. Neste sentido, desenvolvemos uma análise a padrões de consumo demedianoticiosos a partir de uma abordagem mista de métodos qualitativos e quantitativos baseada na Metodologia Q (Davis & Michelle, 2011), a partir de uma amostra constituída por 36 participantes. A análise dos padrões de consumo de notícias permitiu identificar e analisar sete repertórios mediáticos em função do uso, relevância e utilidade atribuída pelos sujeitos aos media noticiosos. Os resultados revelam perfis híbridos de consumo mediático e uma tendência para consumos de notícias numa lógica móvel e multiplataforma, embora os media tradicionais continuem a desempenhar um papel determinante nos repertórios mediáticos em Portugal.
- 'I am not being sponsored to say this': a teen youtuber and her audience negotiate branded contentPublication . Jorge, Ana; Marôpo, Lidia; Nunes, ThaysThe field of microcelebrity is increasingly monetised, professionalised, and institutionalised, with the growing recognition of content creators as social media influencers. This article looks at the integration of branded content within youth digital culture, where participatory possibilities for self-expression are more and more entwined with consumer culture. It seeks to discuss how digital producers understand brand culture and how audiences negotiate the meanings of the commercialism inserted in their content. We look at the case of SofiaBBeauty, a successful young Portuguese youtuber, who has been vlogging since she was 12. The article analyses her association with brands in 12 videos in 2017 (vlog, haul, giveaway, Q&A, first impression, etc.), and the comments by the users showing acceptance and appraisal of, negotiation, or criticism towards, the brand and/or the youtuber. We explore the way Sofia connects her self-presentation with products/brands to appear close to her young audiences, and brands her persona as she is growing up to adulthood; how she presents her commercial recommendations as genuine and pregnant with affect, and whether the audience accepts it or not; as well as how she positions herself in the global YouTube community of practice, where connection with brands aggrandizes her persona in the eyes of the audience. Sofia's videos create a post-feminist subject where consumption is articulated with independence, capability, and empowerment (Banet-Weiser, 2011), while engaging her audiences in a commodification process (Berryman & Kavka, 2017).
- Mummy influencers and professional sharentingPublication . Jorge, Ana; Marôpo, Lidia; Coelho, Ana Margarida; Novello, LiaSharenting (sharing parenting on social media) has become a widespread activity, and some of those parents become family influencers. Female influencers have been on the rise, partly as an alternative to the precariousness of the job market. This article presents a qualitative study on 11 Portuguese mummy and family influencers, analysing social media content observed throughout 2.5 years, as well as media discourses on them. It focuses on how these female content creators portray parenting and family, work–life balance as an influencer and their boundaries for privacy and intimacy. It demonstrates how prominent mummy influencers reproduce a neoliberal ethos which favours an individual management of reconciling motherhood and a career in the context of post-austerity and precarity, through an emotional discourse that promotes relatability with the audience, converted into an essentially consumerist agenda.