Descobrindo rupturas paradigmáticas na publicidade: os vídeos do Porta do Fundos, a presença incomum de marcas e os usos e apropriações dos inscritos comunicacionais do Canal no YouTube.

Abstract

In view of social changes that have taken place from the constant expansion of possibilities for interaction, the thesis has as its overall objective to investigate the processes of advertisement transformation present in Porta dos Fundo's videos, which unusually introduce brands regarding traditional advertising, as well as the usages and appropriations of the channel’s communicating subscribers on the YouTube platform. The research stems from four conceptual frameworks for the investigation process which are: epistemological perspectives, mediatization, advertising and communicating subscribers. It also seeks to understand humor, advertising in contemporaneity, digital audiovisual cultures and YouTube. We follow the perspective of transmethodology, which starts from the idea that it is necessary to build a unique and artisanal path to investigate the phenomenon. Considering that it is a complex research involving context, subjects and advertising, it was necessary to set up ways of understanding each area and also to articulate data so as to answer the proposed problem. The main stages of the methodological process are: research of research, developed in the relevant databases area; YouTube and Porta dos Fundos contextualization research, developed through document analysis; exploratory research within the scope of films, with analysis and improvement of categories and within the scope of subjects, through the analysis of comments and a structured questionnaire; systematic research, within the scope of videos with analysis of 4 films, by way of categories and approach of the subjects and with a questionnaire of communicational ethos and video / conversation. Hitherto, we understand that the presence of brands in the film productions of Porta dos Fundos is part of a new paradigm for advertising, given that in certain productions, talking about goods and services no longer happen and weaknesses are exposed instead. The subjects, on the other hand, traversed and configured by a digital mediatized system, have competencies to consume brands in a wide range of cultural products, even in those products where the brand’s purpose is not explicit. In addition, these same subjects, still in transformation, initially tend to find the exposure of brands in such an unusual way negative, but we demonstrate that even in a negative experience, important bonds are created for the renewed configuration of subjects and publicity.