Configuração da autopromocionalidade televisual: estratégias de lançamento de um produto midiático em diferentes plataformas

Abstract

The present study derives from the perspective of expansion of publicity actions beyond spaces previously defined to its insertion, such as commercial breaks in television. In this context, the study approaches promotionality as a constitutive phenomenon of televisive media, which is converted into an overdeterminant function in relation to the other functions commonly ascribed to television – inform, entertain and educate –, it contaminates the actions of broadcasters and is materialized in broadcasted texts, even bursting to the web. In this regard, promotinality is related to television programming as a whole, favoring both external advertisers as well as broadcasters. The examined gap arises from the transmediatic perspective, which involves promotionality, that is, the observation of the televisual platform and its burst to the web environment, by studying the Soap Opera Império, produced and broadcasted by TV Globo. The main objective of study is to analyze, through different configurations assumed by self-promotional pieces, the strategies deployed in the Soap Opera releasing, considering their internal organization as well as their integration with different media platforms. To do so, we draw on a theoretical and methodological articulation involving the perspectives of the Bakhtin Circle and the European (Greimasian) discursive semiotics in order to observe the Soap Opera publicity pieces in relation to their context (paratextual level), to other reference texts (intertextual paradigmatical level) and to texts that precede and follow them in the discourse chain (intertextual sintagmatical level) and by internal mechanisms of text composition (intratextual level). The results show that, within a context devoted to valuing business in the communication market, the various formats employed, constituting an actual grammar, reaffirm the constant challenge of television in reinforcing what is known by the viewer and surprising by novelty and the recurrence of a discursive, thematic, and figurative path, which leads to the presentation of Império in the analyzed platforms and by abundance of strategies to consolidate the midiatic program as a brand, a meeting point (DI NALLO, 1999). Finally, we understand that open television draws on the web to accomplish reverberation of its programs, seeking a meaning effect of endless possibilities without reaching the wholesome of an interactive television, even though it appeals to a sort of cross promotion to sustain its condition of reference media as far as audience and investments on publicity are concerned.