Detalhes bibliográficos
| Ano de defesa: |
2022 |
| Autor(a) principal: |
Hallage, Mariana Leonhardt
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| Orientador(a): |
Ferrari, Pollyana
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| Banca de defesa: |
Não Informado pela instituição |
| Tipo de documento: |
Tese
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| Tipo de acesso: |
Acesso aberto |
| Idioma: |
por |
| Instituição de defesa: |
Pontifícia Universidade Católica de São Paulo
|
| Programa de Pós-Graduação: |
Programa de Estudos Pós-Graduados em Tecnologias da Inteligência e Design Digital
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| Departamento: |
Faculdade de Ciências Exatas e Tecnologia
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| País: |
Brasil
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| Palavras-chave em Português: |
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| Palavras-chave em Inglês: |
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| Área do conhecimento CNPq: |
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| Link de acesso: |
https://repositorio.pucsp.br/jspui/handle/handle/31011
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Resumo: |
Digital social media platforms are pointing out a new way of communication, prioritizing ephemeral images and videos with the goal of promoting the present moment and creating an instantaneous communication. The stories are the best representations of its dynamics, because of many reasons: its duration of fifteen seconds, the native set up of been visible for only 24 hours after its publication, and its presence in the most important social medias nowadays, such as Facebook, Instagram, Messenger, WhatsApp, and Snapchat. The main goal of this thesis is tohave an overview of the evolution of stories, from 2016 to 2022, between its expansion throughout big tech companies and its adaptations during these years. It is going to be analyzed to understand how brands adapted themselves to use this type of language, born to be spontaneous, but being used in so many strategic ways for communications campaigns. It will be reinforcedthe importance of thinking about how technology has been interfering in our way to communicate, accelerating the modification ofthe place of our images, from a state of contemplation to a state of presence, immediacy, disposable and constant incentive of informational consumption. Talking about authors whocontributedto think about this phenomenon, we can mention Vilém Flusser, Lúcia Santaella and Byung-Chul Han, always connected with the complexity perspective of Edgar Morin.To get visibility about the evolution of stories, it was made a timeline with 82 launches about stories during these years, that were announced by the big techs. Besides that, we did two studycases, monitoring 60 days of stories production by fashion brands, to get a read in the beginning of this period and a second read, nowadays. To conclude the source of data, we interviewed seven marketing and communications professionals, to understand how they are used to apply stories on their brands communications strategies. Due to this methodology with different complementary procedures, we could say that stories are becoming more sophisticated, adding more native resources and tools to improve visuals and connection with different platforms, being involved intrinsically with other brand communication elements. Brands that backwards preferred to use stories to talk about lifestyle and aspirations, now reinforce their commercial vision, prioritizing a fast impact, a clear call to action, to drive consumption. Stories stand for the opposite of something deepbecause it does not spark our curiosityanymore. We are completely seduced by the simple pleasure of consuming a fleeting and involving surface |
