Plataformas de streaming, rupturas tecnológicas e alterações nas dinâmicas das audiências do espaço audiovisual brasileiro (2011-2021)

Detalhes bibliográficos
Autor(a) principal: Cardoso, Jéferson Cristiano
Data de Publicação: 2022
Tipo de documento: Tese
Idioma: por
Título da fonte: Biblioteca Digital de Teses e Dissertações da PUC_RS
Texto Completo: https://tede2.pucrs.br/tede2/handle/tede/10202
Resumo: This thesis analyzes how different streaming platforms, as a phenomenon and technological disruption, affected Brazilian audiovisual audiences, causing public migrations, which, in other times, were affected by other ruptures, such as the emergence of television, the smartphone, the beginning of the internet by fiber optics, the implementation of CDN for the transmission of data by streaming platforms. Therefore, this phenomenon was analyzed in Brazil in three key periods over 10 years, which are 2011 (beginning of Netflix in Brazil), 2015 (the year with the highest number of pay-TV subscribers in the entire history of the country and the beginning of its decline) and 2021 (pandemic and the massive expansion of the number of streaming players and users who use these services). Thus, it was possible to create a picture of all the changes and ruptures of paradigm that occurred over this decade and organize the proposal of a new concept, that of “hyperaudiovisual”. For this, bibliographic and documentary research was carried out, in which data from Ancine and communication vehicles were used, especially Folha de São Paulo, thus enabling specific comparations and sampling, both over time, as well as through different media and devices. As a result, it was noted that the streaming platforms did not affect the audiences of the cinema, but changed the way of distribution of audiovisual, which ceased to be done by physical means, moving to the online business model. In addition, it also directly impacted the pay television audience, which had 25% of its audience migrated to dozens of streaming platforms. The theoretical basis adopted for the research includes authors such as Anderson (2006), Barone (2013), Bauman (2008, 2009, and 2013), Cardoso (2017), Innis (2011), Jenkins (2009), Johnson (2012), Lipovetsky and Serroy (2009 and 2015), McLuhan (1979), Negroponte (1995), Orozco Gómez (2014a, 2014b, 2020), Scolari (2014a, 2014b), among others.
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spelling Silva, João Guilherme Barone Reis ehttp://lattes.cnpq.br/3694548102247717http://lattes.cnpq.br/0453976784826670Cardoso, Jéferson Cristiano2022-05-10T13:49:35Z2022-03-29https://tede2.pucrs.br/tede2/handle/tede/10202This thesis analyzes how different streaming platforms, as a phenomenon and technological disruption, affected Brazilian audiovisual audiences, causing public migrations, which, in other times, were affected by other ruptures, such as the emergence of television, the smartphone, the beginning of the internet by fiber optics, the implementation of CDN for the transmission of data by streaming platforms. Therefore, this phenomenon was analyzed in Brazil in three key periods over 10 years, which are 2011 (beginning of Netflix in Brazil), 2015 (the year with the highest number of pay-TV subscribers in the entire history of the country and the beginning of its decline) and 2021 (pandemic and the massive expansion of the number of streaming players and users who use these services). Thus, it was possible to create a picture of all the changes and ruptures of paradigm that occurred over this decade and organize the proposal of a new concept, that of “hyperaudiovisual”. For this, bibliographic and documentary research was carried out, in which data from Ancine and communication vehicles were used, especially Folha de São Paulo, thus enabling specific comparations and sampling, both over time, as well as through different media and devices. As a result, it was noted that the streaming platforms did not affect the audiences of the cinema, but changed the way of distribution of audiovisual, which ceased to be done by physical means, moving to the online business model. In addition, it also directly impacted the pay television audience, which had 25% of its audience migrated to dozens of streaming platforms. The theoretical basis adopted for the research includes authors such as Anderson (2006), Barone (2013), Bauman (2008, 2009, and 2013), Cardoso (2017), Innis (2011), Jenkins (2009), Johnson (2012), Lipovetsky and Serroy (2009 and 2015), McLuhan (1979), Negroponte (1995), Orozco Gómez (2014a, 2014b, 2020), Scolari (2014a, 2014b), among others.Esta tese analisa como as diferentes plataformas de streaming, enquanto fenômeno e ruptura tecnológica, afetaram as audiências do audiovisual brasileiro, causando migrações de públicos, os quais, em outros tempos, foram afetados por outras rupturas, como o surgimento da televisão, do smartphone, o início da internet por fibra óptica, a implantação de CDN para a transmissão de dados pelas plataformas de streaming. Por isso, esse fenômeno foi analisado no Brasil em três períodos-chave ao longo de 10 anos, que são 2011 (início do Netflix no Brasil), 2015 (ano com maior número de assinantes de TV paga em toda a história do país e início do seu declínio) e 2021 (pandemia e a expansão massiva do número de players de streaming e de usuários consumidores destes serviços). Desse modo, foi possível, assim, criar um retrato de todas as mudanças e rupturas de paradigmas que se deram ao longo dessa década e organizar a proposta de um novo conceito, o de “hiperaudiovisual”. Para isso foi feita uma pesquisa bibliográfica e documental, na qual usou-se dados da Ancine e de veículos de comunicação, em especial a Folha de São Paulo, possibilitando assim fazer comparações e amostragens específicas, tanto ao longo do tempo, quanto através das diferentes mídias e dispositivos. Como resultado notou-se que as plataformas de streaming não afetaram as audiências do cinema, mas mudaram a forma de distribuição do audiovisual, que deixou de ser feito por via física, passando para o modelo de negócio online. Além disso, também impactou diretamente a audiência da televisão paga, que teve 25% do seu público migrado para dezenas de plataformas de streaming. O embasamento teórico adotado para a pesquisa inclui autores como Anderson (2006), Barone (2013), Bauman (2008, 2009 e 2013), Cardoso (2017), Innis (2011), Jenkins (2009), Johnson (2012), Lipovetsky e Serroy (2009 e 2015), McLuhan (1979), Negroponte (1995), Orozco Gómez (2014a, 2014b, 2020), Scolari (2014a, 2014b), dentre outros.Submitted by PPG Comunicação Social (famecos-pg@pucrs.br) on 2022-05-04T18:59:19Z No. of bitstreams: 1 Tese Jéferson Cristiano Cardoso.pdf: 6485474 bytes, checksum: 53da52f703face0aa2b28d227ff16501 (MD5)Approved for entry into archive by Sarajane Pan (sarajane.pan@pucrs.br) on 2022-05-10T13:41:49Z (GMT) No. of bitstreams: 1 Tese Jéferson Cristiano Cardoso.pdf: 6485474 bytes, checksum: 53da52f703face0aa2b28d227ff16501 (MD5)Made available in DSpace on 2022-05-10T13:49:35Z (GMT). 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dc.title.por.fl_str_mv Plataformas de streaming, rupturas tecnológicas e alterações nas dinâmicas das audiências do espaço audiovisual brasileiro (2011-2021)
title Plataformas de streaming, rupturas tecnológicas e alterações nas dinâmicas das audiências do espaço audiovisual brasileiro (2011-2021)
spellingShingle Plataformas de streaming, rupturas tecnológicas e alterações nas dinâmicas das audiências do espaço audiovisual brasileiro (2011-2021)
Cardoso, Jéferson Cristiano
Comunicação
Tecnologias Audiovisuais
Indústria Audiovisual
Streaming-Plataformas
Audiências - Espaço Audiovisual Brasileiro
Communication
Audiovisual Technologies
Audiovisual Industry
Streaming-Platforms
Audiences - Brazilian Audiovisual Space
CIENCIAS SOCIAIS APLICADAS::COMUNICACAO
title_short Plataformas de streaming, rupturas tecnológicas e alterações nas dinâmicas das audiências do espaço audiovisual brasileiro (2011-2021)
title_full Plataformas de streaming, rupturas tecnológicas e alterações nas dinâmicas das audiências do espaço audiovisual brasileiro (2011-2021)
title_fullStr Plataformas de streaming, rupturas tecnológicas e alterações nas dinâmicas das audiências do espaço audiovisual brasileiro (2011-2021)
title_full_unstemmed Plataformas de streaming, rupturas tecnológicas e alterações nas dinâmicas das audiências do espaço audiovisual brasileiro (2011-2021)
title_sort Plataformas de streaming, rupturas tecnológicas e alterações nas dinâmicas das audiências do espaço audiovisual brasileiro (2011-2021)
author Cardoso, Jéferson Cristiano
author_facet Cardoso, Jéferson Cristiano
author_role author
dc.contributor.advisor1.fl_str_mv Silva, João Guilherme Barone Reis e
dc.contributor.advisor1Lattes.fl_str_mv http://lattes.cnpq.br/3694548102247717
dc.contributor.authorLattes.fl_str_mv http://lattes.cnpq.br/0453976784826670
dc.contributor.author.fl_str_mv Cardoso, Jéferson Cristiano
contributor_str_mv Silva, João Guilherme Barone Reis e
dc.subject.por.fl_str_mv Comunicação
Tecnologias Audiovisuais
Indústria Audiovisual
Streaming-Plataformas
Audiências - Espaço Audiovisual Brasileiro
topic Comunicação
Tecnologias Audiovisuais
Indústria Audiovisual
Streaming-Plataformas
Audiências - Espaço Audiovisual Brasileiro
Communication
Audiovisual Technologies
Audiovisual Industry
Streaming-Platforms
Audiences - Brazilian Audiovisual Space
CIENCIAS SOCIAIS APLICADAS::COMUNICACAO
dc.subject.eng.fl_str_mv Communication
Audiovisual Technologies
Audiovisual Industry
Streaming-Platforms
Audiences - Brazilian Audiovisual Space
dc.subject.cnpq.fl_str_mv CIENCIAS SOCIAIS APLICADAS::COMUNICACAO
description This thesis analyzes how different streaming platforms, as a phenomenon and technological disruption, affected Brazilian audiovisual audiences, causing public migrations, which, in other times, were affected by other ruptures, such as the emergence of television, the smartphone, the beginning of the internet by fiber optics, the implementation of CDN for the transmission of data by streaming platforms. Therefore, this phenomenon was analyzed in Brazil in three key periods over 10 years, which are 2011 (beginning of Netflix in Brazil), 2015 (the year with the highest number of pay-TV subscribers in the entire history of the country and the beginning of its decline) and 2021 (pandemic and the massive expansion of the number of streaming players and users who use these services). Thus, it was possible to create a picture of all the changes and ruptures of paradigm that occurred over this decade and organize the proposal of a new concept, that of “hyperaudiovisual”. For this, bibliographic and documentary research was carried out, in which data from Ancine and communication vehicles were used, especially Folha de São Paulo, thus enabling specific comparations and sampling, both over time, as well as through different media and devices. As a result, it was noted that the streaming platforms did not affect the audiences of the cinema, but changed the way of distribution of audiovisual, which ceased to be done by physical means, moving to the online business model. In addition, it also directly impacted the pay television audience, which had 25% of its audience migrated to dozens of streaming platforms. The theoretical basis adopted for the research includes authors such as Anderson (2006), Barone (2013), Bauman (2008, 2009, and 2013), Cardoso (2017), Innis (2011), Jenkins (2009), Johnson (2012), Lipovetsky and Serroy (2009 and 2015), McLuhan (1979), Negroponte (1995), Orozco Gómez (2014a, 2014b, 2020), Scolari (2014a, 2014b), among others.
publishDate 2022
dc.date.accessioned.fl_str_mv 2022-05-10T13:49:35Z
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dc.publisher.department.fl_str_mv Escola de Comunicação, Arte e Design
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