Impacto dos Influenciadores na Sociedade de Consumo em

Finally, the channels make conjectures about popular culture products EF5 , which is common to both formation rules. Influência das redes sociais da digital influencer Paula Feijó no comportamento de seus seguidores. Marketing Theory , 17 2 , Navegue pelo texto. Belo Horizonte: Ed.

The effects of social media marketing on online consumer behavior. Além disso, essas mulheres ainda criaram suas próprias marcas, se inserindo num mercado competitivo e ganhando muito dinheiro. The channels create lists of different aspects regarding popular culture products S07 , such as the quality of the plots, costumes, or special effects of different productions e. Gray, J. Case Studies.

Foucauldian discourse analysis: Moving beyond a social constructionist analytic. International Journal of Information Management, 34 5 , For this purpose, texts should be understood as any materiality that can be read and interpreted, whether in written, visual, iconographic, or audiovisual form, and so forth. Understanding fandom: An introduction to the study of media fan culture London: Bloomsbury. Childers, C. Conhecendo o marketing. O teste de KruskalWallis foi usado para comparar os grupos amostrais quanto aos escores calculados nível de acesso, nível de influência etc.

Influenciadores digitais e seu impacto nas decisões de consumo

Eles devem ser cuidadosos ao promover produtos e serviços para esses grupos, garantindo que suas recomendações sejam apropriadas e seguras.

No entanto, promover a sustentabilidade também apresenta desafios. Esses personagens gerados por computador podem interagir com os seguidores de maneira realista e personalizada. Embora os influenciadores virtuais ofereçam novas oportunidades, eles também levantam questões éticas e de autenticidade. Os influenciadores digitais desempenham um papel multifacetado e significativo na sociedade de consumo. Eles moldam opiniões, influenciam decisões de compra, criam tendências e promovem mudanças sociais.

Qual é o Impacto dos Influenciadores na Sociedade de Consumo legenda. Tipos de Influenciadores Os influenciadores podem ser categorizados em diferentes tipos, dependendo do tamanho de sua audiência e do nicho em que atuam: Mega-Influenciadores : Celebridades com milhões de seguidores. Macro-Influenciadores : Indivíduos com centenas de milhares de seguidores. Influenciadores digitais e seu impacto nas decisões de consumo 4. Todas as marcas querem um influencer 5.

Mas, como ocorre o impacto dos influenciadores na sociedade de consumo? Vantagens e desvantagens do impacto dos influenciadores digitais na sociedade de consumo 7. Vantagens do impacto dos influenciadores digitais na sociedade de consumo: 8. Finally, the channels address the evolution of entertainment productions EF2 , which is common to both formation rules. This enunciative function presents the modus operandi of the entertainment industry referential , both in relation to how it is thought of as a business and narrative associated filed.

Figure 5 shows all these relationships, as well as those with the statements, which we describe below. Two related statements link exclusively to EF1. On the one hand, the channels highlight industry professionals S01 through interviews with actors, directors, and producers, news about hiring and firings, staff participation in developing productions, and even about the personal lives of industry people.

On the other hand, the channels highlight the industry producers S02 , spreading what they are doing or planning to do, both in relation to their products e.

Figure 6 illustrates these statements. The first three images refer to S01 and the last three to S Two more related statements relate only to EF3. On the one hand, the channels analyze how entertainment industry productions incorporate a contemporary agenda of social and political debates S06 , such as political ideologies, gender and ethnic diversity, and the role of women in society.

On the other hand, the channels discuss how popular culture gets into social life S05 , spreading nerd and gamer cultures, as well as how popular culture themes are related to other social life themes and even used as a reference for fake news. This statement is illustrated in the second line of images of Figure 7 , while the images of the first exemplify S Finally, another two related statements link to EF2, each of which also relates to another enunciative function, as well as to another statement.

Thus, also related to the repercussion of the backstage of the entertainment industry EF1 and how the channels highlight the industry producers S02 , the channels highlight the progress of productions S03 , reporting the different stages of media products e. On the other hand, the channels analyze how popular culture has consolidated from the very evolution of the entertainment industry S04 , discussing how technological and narrative development improvements have impacted the reception of media products, which also relates to the interface between popular culture and contemporary society EF3 and to how popular culture merges with social life S In Figure 8 , the first three images illustrate S03, while S04 is demonstrated by the last three.

The second discursive formation DF2 concerns how influencers speak from a fannish place of speech in spreading entertainment industry products. They set out to edify fan culture through their expert knowledge of popular culture and the medium at their disposal to propagate it. This discursive formation is based on two formation rules: fannish expertise FR3 , concerning the analysis of entertainment industry products from the point of view of their grip on popular culture, and fan culture spreading FR4 , which propagates to fan knowledge about media products, as well as behaviors that characterize fans.

In both formation rules, the entertainment industry object is approached from a fannish point of view concept , with the purpose of indoctrinating strategy the audience into fan culture. They differ in the modalities adopted. In the first formation rule FR3 this happens through the evaluation and judgment of industry productions, while in the second FR4 these productions are disclosed, explained, and generate expectation.

The composition of formation rules based on their criteria is shown in Table 4. The criteria that configure the enunciative functions related to such formation rules are shows in Table 5. Among the common criteria of formation rules, two are repeated in the enunciative functions: the channels focus on the entertainment industry productions based on the understanding that they are products referential of popular culture associated field.

In addition, all identified modalities refer to a fan position subject. However, materialities vary, which differentiates the enunciative functions. The channels assign value to popular culture products EF4 , which can happen both positively and negatively. This enunciative function is characterized precisely by the propensity of the influencers to qualify materiality the products and is linked to the fannish knowledge FR3.

On the other hand, related only to fan culture propagation FR4 , the channels elucidate aspects of popular culture products EF6 as a way of diffusing them materiality. Finally, the channels make conjectures about popular culture products EF5 , which is common to both formation rules. This enunciative function is characterized by speculation materiality about the direction of franchise narratives, which is done as a way of disseminating or valuing.

These relationships, including those with the statements described below, are shown in Figure 9. Relating exclusively to EF4 are three interrelated statements. The channels create lists of different aspects regarding popular culture products S07 , such as the quality of the plots, costumes, or special effects of different productions e.

Similarly, the channels make comparisons in popular culture S08 , whether between competing products or between products of the same franchise, setting stylistic, narrative, and technical parameters e. DC movies, character characteristics, video game consoles of different brands, original vs. In addition, the channels evaluate popular culture products S09 through verdicts, commentary on teasers and trailers, and even resonating the press evaluation.

These statements are illustrated respectively by the images in each line of Figure Two related statements link only to EF6. On the one hand, the channels resonate the releases of major productions S14 , presenting or discussing curiosities such as deleted scenes, continuity errors, post-credit scenes, Easter eggs, and even memes circulating on the internet.

On the other hand, the channels explain popular culture products S15 , summarizing stories of fictional universes, explaining character characteristics, and unraveling information reserved for fans who know certain franchises in-depth. In Figure 11 , these statements are evidenced through the first three and the last three images, respectively.

Four statements link to EF5, as well as to one of the other two. The channels highlight the success of popular culture products S10 , which is related to the influencers' evaluation of them S09 , as well as a way of valuing them EF4.

This happens as much from the standpoint of their marketing performance - which is relativized in relation to their proposal and production cost, for example - as it is about their ability to raise fans or impact culture - which is also considered in terms of the segments to which they are addressed. On the other hand, the other three statements also unravel popular culture issues EF6.

As an epicenter of this articulation, the channels create and disseminate theories about the narratives of fictional universes E12 , a statement that relates to all others linked to this enunciative function. Influencers rely on their interpretations and on the statements of artists and directors involved in productions to add explanations of already released productions and speculate on what might happen to those in development.

Also, the channels give spoilers about popular culture productions S11 as a way of making assumptions about them. Finally, the channels create a climate of expectation for new production releases S13 , presenting in advance a large volume and diversity of information about certain franchises, whether they consider emblematic of popular culture, or those of great appeal and repercussions S The last discursive formation DF3 concerns how influencers assume a marketing role in promoting the entertainment industry.

This formation derives from a single rule, which concerns the development of the entertainment market FR5 , through the actions of influencers to stimulate the demand of this market. This formation rule refers to how channels promote modality the entertainment industry object , through their performance concept — quality and product disclosure, events, market expansion — with a view to stimulating strategy consumption. Table 6 shows the list of this formation rule criteria. Thus, influencers act from a market perspective associated field , as agents subject of its growth.

On the one hand, the channels praise materiality the success referential achieved by industry organizations. On the other hand, they foment materiality their products through dissemination referential. The criteria that compose both enunciative functions are shown in Table 7.

The differences between criteria singularize the enunciative functions linked to the rule of this discursive formation. Relationships supporting this discursive formation are shown in Figure 13 and described below. The first of these enunciative functions exalts products and their producers EF7. Three interrelated statements are linked to it. Some entertainment industry producers are celebrated S16 for their contribution to popular culture, with their history and evolution presented and their main products highlighted and discussed.

In addition, product performance is highlighted S17 , in which information on revenue, profitability, awards, and longevity among others are associated with quality. One of the main parameters used to qualify pop culture productions is the box office return achieved by films. Finally, the channels stimulate consumption of popular culture products S18 , indicating productions e.

These statements are shown respectively by the images of each line in Figure The statement about stimulating consumption S18 also links to the other enunciative function regarding DF3, which concerns information disclosure to boost the entertainment market EF8.

Linked to the other two statements of this group, the channels support entertainment industry events S19 , reverberating awards ceremonies e. In addition to spreading expectations and evaluation of the awards, the channels highlight how pop culture events e.

Finally, the channels support the national entertainment industry's development S20 , reporting about Brazilian products, producers, and professionals involved in the sector, as well as the country's appearance in international productions.

Figure 15 illustrates these last statements in three images for each in sequence. By taking a position typically aligned with that of the specialized press, digital influencer channels resonate the entertainment industry analytically DF1 , suggesting an intention to build credibility by legitimating themselves as informational media Cotter, Cotter, K. On the other hand, they also assume the task of touting popular culture, making it increasingly relevant to a captive audience DF2.

To do so, they assume a fan role, which can be interpreted as a way of performing this doctrine through empathy Cotter, Cotter, K. Finally, they also act as entertainment industry promoters, assuming a marketing role DF3. These different agencies should be discussed with the complexity they require, as they cannot be understood as variations of the same practice.

In fact, they end up representing a fundamental tripod of the market structure: producers, mediators, and consumers. These different positions represent different subjectivities and, consequently, different marketplace ideologies. Thus, we can say that the results demonstrate an episteme founded on a market agency see Figure 16 , in the way that popular culture digital influencers play different market positions. This is an important theoretical insight, since the roles involved in market agencies are often well demarcated by the literature i.

In our research, such market agency roles correspond, respectively, to the three discursive formations: press DF1 , fans DF2 , and promoters DF3. Since media discourses are fundamentally affected by the spaces in which they are produced Charaudeau, Charaudeau, P.

Fans, bloggers, and gamers: Exploring participatory culture. Teoria das mídias digitais: Linguagens, ambientes e redes. This volatility aligns with the so-called postmodern condition, marked by a process of dissolution and reconfiguration of social structures and established truths. Liquid modernity.

Cambridge: Polity Press. In CCT studies, individuals can be identified and understood through the ability to move in different social positions and, therefore, articulate among different ideological conceptions according to different social spaces of signification e.

Liberatory postmodernism and the reenchantment of consumption. The Journal of Consumer Research, 22 3 , In line with this perspective, Foucault Foucault, M. The history of sexuality: The use of pleasure Vol. New York: Vintage. Prior to this, textual production results from an author-function, as a mode of existence and circulation of social discourses.

One same text can refer to different discursive positions according to the different points of view and pretensions of those who interpret and re-signify them, thus not being restricted to the purpose of its writer.

Thus, texts have their possibility of production subjected to control, selection, organization, and redistribution of procedures capable of highlighting, manipulating, establishing, and mitigating truths through different signification contexts Foucault, Thus, the paratextuality of media products is the result of this author-function Mittell, Mittell, J.

Cross, C. Ruvalcaba, A. Consumer culture theory Research in Consumer Behavior, No. Bingley: Emerald Group Publishing. On the other hand, media paratextuality can be expected to overlap different points of view and interests in different layers of meaning Mittell, Mittell, J.

We can conclude, therefore, that the digital influencers' paratexts about popular culture refer to different market agencies since they evidence a subjectively fragmented action in the consumer culture paradigm.

This allows us to make two reflections. The first is about the transience between marketing roles that are assumed by digital influencers.

According to Wallendorf Wallendorf, M. The latter restricts the actors to a structure that relates to monetary exchanges. The former i. Secondly, when digital influencers perform different authorship functions in a transmedia environment closely related to overlapping market practices, such positions cannot be totally separated.

In the assumption of the role of fan to create a captive audience, it cannot be said that digital influencers perform this only in a strategically thoughtful way, as they are expected to address issues they know and esteem. On the other hand, it is not possible to determine that the promotional function they perform is always sponsored, so it would not be incoherent to assume that it is associated with their interest in building a rapt audience.

Amid this weft, it seems clear that these different positions are naturally performed, suggesting the influencers do not perceive as questionable conciliating the informational and the capture perspectives Charaudeau, Charaudeau, P. They blend in the way digital influencers articulate the content of popular culture: a critical and impartial posture i.

This is possible because, according to Foucault Foucault, M. Subjectivity and truth: Lectures at the college de France London: MacMillan. There is not an ultimate truth; different truths constitute distinct ethical positions. However, truths that serve to underpin an ethical stance do not play the same role regarding other ethics.

Therefore, a dispute for establishing truths is continuously played. This process constitutes distinct ethical positions that are sometimes dialogable, sometimes incompatible. The discursive formations identified indicate that digital influencer channels paratextualize popular culture through different market agencies.

Because the different channels analyzed do not present a discrepancy between the popular culture themes addressed in their thumbnails, the discourses identified reveal how the role of ambassadors of this segment assumed by digital influencers overlaps with different positions regarding the content of the entertainment industry.

When they disseminate news and information about the segment, without judgment, they act as mediators, emulating the specialized press; by qualifying through experiences and in-depth knowledge of the content, they reveal their fannish feelings, acting as consumers; in making disclosures aimed at driving ways to consume media texts they resemble marketing promoters.

The production of paratexts through social networks overlaps different marketplace ideologies i. Before they refer to alternative and alternate positions in their performances, these are concomitant faces of the same fragmented subject. The study reveals a unified episteme that is, in itself, a vehicle for different knowledge that underlies traditionally separate agencies that are revealed as integrated.

In addition, the new communication and information technologies ICT popularized by the participatory logic of Web 2. Thus, in a specific way, the research brings a theoretical contribution to CCT by addressing the conception of paratextual production as an interdisciplinary theoretical dialogue for the research field.

Towards a theoretical generalization, the study shows how the subjects play different roles in the market, without these being separated or even well delineated among themselves. Tabela 4. A Figura 3 ilustra graficamente o nível de influência dos ID no que se refere às compras nas redes sociais. Figura 3. Nada obstante, os influenciadores digitais têm se tornado peças fundamentais nos estudos de estratégias de marketing em geral e do marketing digital em particular.

Por outro lado, as mais acessadas foram o Instagram, Youtube e Facebook. A maior parte dos entrevistados afirmou seguir pelo menos um influenciador. Communicative intimacies: Influencers and perceived interconnectedness. Media International Australia, v. Métodos de pesquisas de survey. Belo Horizonte: Ed. UFMG, Comportamento do consumidor. Research methods and organization studies. Great Britain: Routledge, Network to drive revenue. Target Marketing, v.

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Comportamento do consumidor de refrigerantes: reflexos da mudança no mercado brasileiro. Survey methodology. Conhecendo o marketing. Digital and social media marketing usage in B2B industrial sector. Your Cart. Product is not available in this quantity.

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