Marina Krebs Vanazzi

TWITTER SOCIAL MEDIA AUS

Introduction

Twitter social media aus. Estudo da fanfiction "Social Media AU" no Twitter (X). Veja como as redes sociais transformam a narrativa, incorporando imagens e interatividade em novas formas de contar histórias.

Abstract

Fanfiction, um produto da cultura de fandom que se acredita ter começado na década de 1960 com Star Trek, é um tipo de literatura que está progressivamente entrando nas discussões acadêmicas. Este artigo opta por focar em um tipo especial de fanfic, as Social Media AUs, que são fanfics ambientadas e contadas através do formato de redes sociais. A primeira parte da análise mostra como esse tipo de fanfic estava sendo produzido nos espaços de fanfic mais tradicionais – arquivos virtuais como FanFiction.Net e Archive Of Our Own (AO3) – e como as escritoras escolheram representar a interação em redes sociais. A segunda parte discute a mudança desses arquivos para o Twitter (X) e analisa aspectos que diferenciam as Social Media AUs produzidas no aplicativo: uso de imagens, recriação de formatos de mídia social, praticidade na leitura, ferramentas interativas e abordagem multimídia. Para isso, exemplos reais de fanfics do AO3 e do Twitter são usados e autoras como Derecho (2006) e Vargas (2005) são trazidas para aprofundar a análise. Os resultados mostram que as mídias sociais estão influenciando novas formas de contar histórias e que há um interesse significativo em histórias contadas inteiramente no formato de redes sociais.

Review

The article "TWITTER SOCIAL MEDIA AUS" addresses a highly relevant and progressively emerging area within contemporary digital culture: fanfiction, specifically focusing on "Social Media AUs" (Alternate Universes). The paper aims to track the evolution and distinctive characteristics of fanfiction narratives told primarily through social media formats, from their initial appearance within traditional fanfiction archives like FanFiction.Net and AO3 to their subsequent flourishing on platforms such as Twitter (now X). This chosen focus is particularly timely, as it engages directly with how digital environments not only host but actively shape new forms of storytelling and reader engagement, positioning the work at the heart of critical discussions in digital humanities, media studies, and fan studies. The proposed methodology is clearly structured and promises a comprehensive two-part analysis. The first section effectively contextualizes the emergence of Social Media AUs within established fanfic archives, examining how authors initially simulated social media interactions in a text-dominant environment. The second, and arguably more innovative, part focuses on the migration of these AUs to Twitter, where the abstract indicates an insightful exploration of specific features unique to Twitter-native AUs. These include the integral use of images, faithful recreation of social media formats, enhanced readability, interactive tools, and a multimodal approach to storytelling. The stated use of concrete examples from both AO3 and Twitter, coupled with theoretical grounding from scholars like Derecho and Vargas, lends significant academic credibility and depth to the analysis. The anticipated findings, highlighting social media's profound influence on novel narrative forms and the evident reader demand for stories told entirely within social media formats, are compelling and significant. This paper makes a valuable contribution by dissecting a specific, yet increasingly prevalent, form of digital storytelling that often goes under-examined in academic discourse. While the abstract thoroughly outlines the structural and narrative innovations, future research building on these findings could further explore aspects such as audience reception and engagement patterns, the implications for intellectual property, or a comparative analysis with other social media platforms. Overall, this article appears to be a well-conceived and executed piece of scholarship that effectively illuminates a dynamic intersection of fan culture, digital media, and evolving narrative practices.

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