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Fans are proactive consumers of pop culture products, who can be seen as prosumers. Fanvideo production is one of their most widespread practices in the participatory culture scenario. Thus, the aim of the present study is to analyze how ludic prosumption is featured on plays performed in Brazilian fanvideos based on successful pop culture franchises.

Research based on the interpretive content analysis of fanvideos of plays produced by Brazilian fans based on five emblematic pop culture franchises and published on YouTube.

Results have shown six play types in the analyzed fanvideos – i.e. child's play, performing powers, cosplay, play in social rites, teaching to play and “zuêra” –, which revealed a way of having fun in different situations through different practices based on ludic consumption experiences in different spheres of social life.

CCT-based studies focused on investigating plays as ludic consumption phenomenon, as well as fan culture, remain at early research stage. Thus, the main contribution of the present study lies on associating such concepts based on the concept of prosumption.

This article examines the ways in which the popular music industry markets artists through integrated transmedia marketing campaigns. These campaigns unfold across multiple media and create multiple pathways for audience engagement, particularly fan engagement, across social media platforms. The purpose is to further theorise the relationship between artists, the music industry and audiences.

The study used digital ethnography to scrutinise the activities within a contemporary music transmedia marketing campaign, focusing on the release of Taylor Swift's album Reputation as an illustrative case.

The study demonstrates how strategically curated activities encompass platforms' affordances and industry events by making use of fan engagement across social media platforms and streaming services. Fans shift through platforms, as well as across digital and physical spaces, through defined marketing activities at specific times. This article proposes the concept of choreographed engagement to specifically address the ways in which the temporal and spatial aspects of social media marketing are used at the intersection of platform logic, algorithm economy and fan engagement to reach wider audiences.

By proposing the concept of choreographed engagement, the authors bridge the gap between fan practices and marketing practices, providing insight into how commodification of fan engagement is utilised spatially and temporally within the contemporary platform economy. Choreographed engagement constitutes a significant aspect of strategic communication and marketing. The term expands the vocabulary used in the debate on the commodification of artistic work, and audience engagement in the platform era.

Sports leagues have stood out in the entertainment industry due to their great economic value and cultural impact. This is the case of the American sports leagues, with emphasis on the National Basketball Association (NBA), whose largest Latin American market lies on Brazil. The aforementioned league’s audience is constantly growing, a fact that can be partially explained by the encouragement provided for its viewers to interact through social media, in a phenomenon called social TV. Accordingly, the aim of the present study is to investigate how social TV works as a means for Brazilian fans to coproduce their NBA broadcasting enjoyment through social media interactions.

The authors conducted a netnography on the community of fans engaged in Twitter hashtag #NBAnaESPN, which was released by ESPN to promote audience integration during NBA games' broadcasting.

A theorization about the role played by social TV in the way fan culture articulates through social media to enjoy broadcasting media products was herein presented. The findings of this study have evidenced three categories concerning the role played by television broadcasting, social media and the fandom in NBA consumption by Brazilian fans. Based on these findings, the authors got to the conclusion that social TV establishes a mediatized environment where fan culture can be articulated through social media to enable interactions about television broadcasting.

The study was limited to members of the Brazilian NBA audience who engage in the official social media of the league’s broadcasting.

The study heads toward a theoretical generalization based on the research results.

The purpose of this paper is to explore fans’ reactions to corporate naming rights sponsorship of football club stadia and identify a range of contextual factors impacting these reactions.

A qualitative, quasi-ethnographic research design is adopted, focusing on three football clubs in North West England. Data are gathered through online message board discussions, focus groups and auto-ethnographic approaches.

Geographic, image and functional dimensions of sponsorship fit are noted as contextual factors in determining fans’ reactions to corporate stadium names. It is also proposed that some forms of fit (in particular geographic fit) are more important than others in this regard. Beyond issues of fit, three additional contextual factors are identified that potentially influence fans’ reactions to corporate stadium names: prior involvement with the club by the sponsor; fans’ perceived impact of the sponsorship investment; and whether the stadium is new or long-established.

Future research might examine the relative importance and implications of the identified contextual factors, alongside seeking other potential areas of contextual framing.

Sponsorship naming rights negotiations need to be sensitive to a variety of contextual factors. Furthermore, sponsors would do well to have a good awareness of their own brand image and its congruency with the identity of the club and fan base.

This nuanced, qualitative analysis extends existing, quantitative-based research by identifying a range of contextual factors which shape fans’ reactions to corporate stadium naming.

Fans have been characterized as specialized consumers who often express disagreements with the entertainment industry's decisions, especially when it comes to the original content of the works that serve as the basis for the development of media products, evidencing a kind of consumer resistance. Under a Foucauldian perspective aligned with the consumer culture theory (CCT), power relations are established in a dynamic of power exercise and resistance to power. Based on this, the authors pose the following research question: how do fans of media products resist the changes made by the entertainment industry in relation to their canons?

The authors adopted the Foucault's genealogy of power as a method, analyzing the comments posted on the Westeros.Org website, the main discussion forum of fans of A Song of Ice and Fire (ASoIaF) book series and Game of Thrones (GoT) TV series.

The findings reveal ways of resistance in relation to the adaptation of the media text permeated by an entertainment dispositif, which considers the adaptation legitimate, and a fannish dispositif, which criticizes the way this adaptation was made. However, their empirical categories reveal that they are forged not only from singularities but also from overlaps. The authors conclude, therefore, that this process occurs in an agonist way, in which conflicts are fought as a reciprocal incitement revealing a productive and ethical relationship.

The agonism shows how consumers can simultaneously be led to incorporate and resist to discourses and market practices. This demonstrates how resistance is not necessarily a force opposed to another, but a dynamic of reciprocal negotiation.

The purpose of the study is to compare features of career development and fandom in frequent festival attendance in the context of Finnish music festivals.

The study uses a mixed methods research approach and employs two theoretical frameworks: theories of career development and fandom.

In frequent festival attendance, both festival career development and festival fandom are most clearly present in motivation development and social dimensions.

Strategically, frequent festivalgoers should be considered as crucial stakeholders, who might mobilize the co-creation of a sense of community or festival brand.

Music-related fandom has been previously investigated in relation to artists and specific musical genres, but not so much in relation to music festivals in general. Career studies, on the other hand, concentrate heavily on sports events. There is a scarcity of research scrutinizing both career development and fandom in the festival context within the same study, and festival attendance as part of music tourism is an under-researched area.

The purpose of this research is to examine fans' perceptions of pro-environmental sustainability initiatives promoted by a professional sport club and the ensuing effects on a triple bottom line (TBL) approach (i.e. fans' socially, environmentally and economically favourable behaviours).

Data were collected in two different steps using an online self-administered questionnaire (n1 = 1,043; n2 = 2,167) distributed to fees-paying members registered in the club's database. The analysis was carried out though structural equation modelling.

The results indicate good psychometric properties of the scale used to measure fans' perceptions of a club's pro-environmental sustainability initiatives (perceptions of pro-environmental sustainability initiatives in sports; p-PESIS). Additionally, there is a positive effect of p-PESIS on fans' social behaviours as well as on their daily environmental actions. Furthermore, p-PESIS also shows a positive effect at improving fans' economic activities towards the club.

Extending previous research, the authors tested a scale to measure fans' responses to pro-environmental sustainability initiatives in sport and examined their links to the TBL dimensions. Pro-environmental sustainability initiatives in sport benefit not only the club itself (by reinforcing fans' activities with the club) but also society as a whole, as it can promote fans' conscientiousness and likelihood to behave in environmentally and socially favourable ways.

The National Football League (NFL), the most lucrative sports league in the world, has its second largest foreign audience in Brazil. Its Brazilian broadcasts stimulate the audience to extrapolate television reception and interact through a social media platform, seeking to integrate a collective consumption. Thus, attachments are established between consumers and league. Based on this, this study aims to analyze how the interaction in social media of the Brazilian NFL audience, during the transmissions of its games, results in consumption attachments.

The method undertaken was Netnography, commonly used to investigate cultural practices occurring in online environments. The research corpus consisted of messages posted on Twitterhashtags created by the ESPN Brazil channels to reverberate its broadcasts of the league between 2016-2017 and 2017-2018 seasons.

The findings of this study indicate that Brazilian audience interaction in social media establishes consumer attachment with the NFL by means of the brand elements and aspects of social life, mediated by the league.

The research observed only the part of the Brazilian audience of the NFL that engages in the broadcasts of the games through social media.

The research of this study demonstrates how brands can use social media to enable social interactions that create or improve consumer attachments with them.

The study presents how a media brand imbricated in the American culture has been the target of attachment by Brazilian fans through social media interactions.

Despite to useful relevance to better understand how group-level identity develops, few studies have explored the identity theory in the esports field and, in particular, considering the impact of a fan's role identity. The current study aims to explore esports fan role-identity vis-à-vis the relationship with the sponsor and the sponsee so as to understand the effects on their behavioral intentions.

Using a sample of 356 esports fans who attended the 2021 FPF eFootball Open Challenge, a Confirmatory Factor Analysis (CFA) analyzed the psychometric properties of the constructs and a subsequent Structural Equation Modeling (SEM) examined the effects of fan identity on two types of behavioral intentions and sponsor–sponsee relationship.

Results indicate that fans who highly identify with esports have the highest attachment to the event and tend toward having a positive word-of-mouth intention. Esports fans who have a higher brand identification reported a positive attitude toward the event's sponsor brand and tend to purchase its products. Moreover, the study findings also provide evidence of the bidirectional interaction between the way in which fans attach with the esports event and its sponsor brand, leading to greater reciprocity in their identity formation.

This study helps to understand how the fan identity process can enhance its fate and develop mutually, building role overlapping identity in the esports sponsor–sponsee relationship. Complementarily, it supports of how the marketeers and managers must analyze the importance of being a fan to the individual in order to understand how its self-identity can shape the future behavior.