“Everyone in the realm has a voice”: Game of thrones, twitter and television fan engagement

Detalhes bibliográficos
Autor(a) principal: Felten, Pol
Data de Publicação: 2015
Tipo de documento: Dissertação
Idioma: eng
Título da fonte: Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
Texto Completo: http://hdl.handle.net/10071/10091
Resumo: With the broad adoption of Twitter and other social networks, the concept of social TV has sought to explain emerging viewing behaviours of active audiences to use social media alongside television to connect with like-minded fans and discuss televised content online. TV programmes on their part took the opportunity to engage fans in these online spaces to drive live viewing. This dissertation will examine how fan engagement practices are leveraged by the HBO series Game of Thrones on Twitter, raising the fundamental question of the nature of interaction between television professionals and viewers and whether Twitter indeed is the catalyst for discussion and open exchange the service likes to portray itself as. For this specific case study we combined both qualitative and quantitative methods and applied them to collected Twitter data, mainly focusing on a content analysis of transcribed tweets sent by the official Game of Thrones Twitter account between May 2014 and April 2015. Based on the results of this analysis, we argue that in the case of Game of Thrones meaningful exchange and engagement is kept at a minimum and Twitter’s potential is not fully exploited, but rather used as another one-to-many communication channel for promotion alongside others. For future research the question is raised whether other television programmes operate equally and whether Twitter as a medium might not be suited for extended discussion.
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spelling “Everyone in the realm has a voice”: Game of thrones, twitter and television fan engagementTwitterTelevisionSocial TVSocial MediaAudience engagementFansParticipationTelevisãoTelevisão socialRedes sociaisCompromisso da audiênciaFãsParticipaçãoWith the broad adoption of Twitter and other social networks, the concept of social TV has sought to explain emerging viewing behaviours of active audiences to use social media alongside television to connect with like-minded fans and discuss televised content online. TV programmes on their part took the opportunity to engage fans in these online spaces to drive live viewing. This dissertation will examine how fan engagement practices are leveraged by the HBO series Game of Thrones on Twitter, raising the fundamental question of the nature of interaction between television professionals and viewers and whether Twitter indeed is the catalyst for discussion and open exchange the service likes to portray itself as. For this specific case study we combined both qualitative and quantitative methods and applied them to collected Twitter data, mainly focusing on a content analysis of transcribed tweets sent by the official Game of Thrones Twitter account between May 2014 and April 2015. Based on the results of this analysis, we argue that in the case of Game of Thrones meaningful exchange and engagement is kept at a minimum and Twitter’s potential is not fully exploited, but rather used as another one-to-many communication channel for promotion alongside others. For future research the question is raised whether other television programmes operate equally and whether Twitter as a medium might not be suited for extended discussion.Com a adoção generalizada do Twitter e de outras redes sociais, o conceito de Televisão Social veio explicar comportamentos de visualização de audiências ativas que utilizam as redes sociais, juntamente com a televisão, para que se faça uma ligação entre fãs com o mesmo tipo de gostos e discutam o conteúdo televisivo online. Os programas de televisão, por seu lado, retiram partido desta tendência e aproveitam a oportunidade de agarrar os fãs nos espaços online disponíveis, que proporcionam uma visualização em direto do programa de televisão. Esta dissertação vai analisar a forma como o compromisso dos fãs aumenta na série Guerra dos Tronos, da HBO, através do Twitter, levantando a questão fundamental da natureza da interação entre os profissionais de televisão e os telespectadores e a forma como o Twitter pode ser catalisador de discussão e partilha aberta, tal como o serviço gosta de se intitular. Para este estudo de caso específico combinámos ambos os métodos de análise qualitativa e quantitativa e aplicámos os mesmos aos dados recolhidos através do Twitter, focando a atenção, principalmente, na análise de conteúdo dos tweets transcritos que foram enviados pela conta oficial do Twitter da Guerra dos Tronos entre Maio 2014 e Abril 2015. Baseados nos resultados desta análise, argumentamos que, no caso da Guerra dos Tronos, o impacto da partilha e o compromisso é mínimo e o potencial do Twitter não é explorado ao máximo, mas sim utilizado como um canal de comunicação e promoção de um-para-muitos. Para investigação futura, a questão prendese com a forma similar como outros programas de televisão operam e até que ponto é que o Twitter, como meio de comunicação, pode não ser adequado a discussões prolongadas.2015-11-04T11:49:26Z2015-01-01T00:00:00Z20152015-10info:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/masterThesisapplication/pdfapplication/octet-streamhttp://hdl.handle.net/10071/10091TID:201013657engFelten, Polinfo:eu-repo/semantics/openAccessreponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãoinstacron:RCAAP2023-11-09T17:34:57Zoai:repositorio.iscte-iul.pt:10071/10091Portal AgregadorONGhttps://www.rcaap.pt/oai/openaireopendoar:71602024-03-19T22:15:49.157808Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãofalse
dc.title.none.fl_str_mv “Everyone in the realm has a voice”: Game of thrones, twitter and television fan engagement
title “Everyone in the realm has a voice”: Game of thrones, twitter and television fan engagement
spellingShingle “Everyone in the realm has a voice”: Game of thrones, twitter and television fan engagement
Felten, Pol
Twitter
Television
Social TV
Social Media
Audience engagement
Fans
Participation
Televisão
Televisão social
Redes sociais
Compromisso da audiência
Fãs
Participação
title_short “Everyone in the realm has a voice”: Game of thrones, twitter and television fan engagement
title_full “Everyone in the realm has a voice”: Game of thrones, twitter and television fan engagement
title_fullStr “Everyone in the realm has a voice”: Game of thrones, twitter and television fan engagement
title_full_unstemmed “Everyone in the realm has a voice”: Game of thrones, twitter and television fan engagement
title_sort “Everyone in the realm has a voice”: Game of thrones, twitter and television fan engagement
author Felten, Pol
author_facet Felten, Pol
author_role author
dc.contributor.author.fl_str_mv Felten, Pol
dc.subject.por.fl_str_mv Twitter
Television
Social TV
Social Media
Audience engagement
Fans
Participation
Televisão
Televisão social
Redes sociais
Compromisso da audiência
Fãs
Participação
topic Twitter
Television
Social TV
Social Media
Audience engagement
Fans
Participation
Televisão
Televisão social
Redes sociais
Compromisso da audiência
Fãs
Participação
description With the broad adoption of Twitter and other social networks, the concept of social TV has sought to explain emerging viewing behaviours of active audiences to use social media alongside television to connect with like-minded fans and discuss televised content online. TV programmes on their part took the opportunity to engage fans in these online spaces to drive live viewing. This dissertation will examine how fan engagement practices are leveraged by the HBO series Game of Thrones on Twitter, raising the fundamental question of the nature of interaction between television professionals and viewers and whether Twitter indeed is the catalyst for discussion and open exchange the service likes to portray itself as. For this specific case study we combined both qualitative and quantitative methods and applied them to collected Twitter data, mainly focusing on a content analysis of transcribed tweets sent by the official Game of Thrones Twitter account between May 2014 and April 2015. Based on the results of this analysis, we argue that in the case of Game of Thrones meaningful exchange and engagement is kept at a minimum and Twitter’s potential is not fully exploited, but rather used as another one-to-many communication channel for promotion alongside others. For future research the question is raised whether other television programmes operate equally and whether Twitter as a medium might not be suited for extended discussion.
publishDate 2015
dc.date.none.fl_str_mv 2015-11-04T11:49:26Z
2015-01-01T00:00:00Z
2015
2015-10
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