TikTok: usos e motivações entre adolescentes em Portugal

Autores/as

DOI:

https://doi.org/10.16921/chasqui.v1i147.4419

Palabras clave:

TikTok, adolescentes (13-16), aplicação móvel, conteúdos gerados pelos utilizadores (UGC), media gerados pelo utilizador (UGM), usos e gratificações (U&G),

Resumen

Durante os primeiros meses de confinamento devido à pandemia Covid-19, o TikTok foi a aplicação mais descarregada a nível mundial, tendo conquistado, só em Portugal, meio milhão de novos utilizadores, o que requer um olhar mais aprofundado por parte das Ciências de Comunicação.Usando como base a teoria dos Usos e Gratificações (U&G), este estudo pretende mapear as práticas de adolescentes portugueses (13-16) nesta plataforma, explorando as diferenças entre os utilizadores e os criadores de conteúdos. Para tal, foi realizada um inquérito online a uma amostra não probabilística de 263 utilizadores do TikTok.Os resultados mostram que 44,5% produzem conteúdos e que estes têm uma atuação mais estratégica, focada na autopromoção, na expansão e dinamização da sua comunidade online.

Biografía del autor/a

  • Alexandre DUARTE, Centro de Estudos Sociedade e Comunicação
    Professor Auxiliar ConvidadoUniversidade Católica Portuguesa eIADE/Universidade Europeia
  • Patrícia DIAS, CECC - Universidade Católica Portuguesa
    Professor Auxiliar Convidada da Universidade Católica Portuguesa

Referencias

Anderson, K. E. (2017). Getting acquainted with social networks and apps: periscope up! Broadcasting via live streaming. Library Hi Tech News.

Anderson, K. E. (2020). Getting acquainted with social networks and apps: it is time to talk about TikTok. Library Hi Tech News.

Azerion (2020). “Tik Tok em Portugal”. Lisbon: Lisbon Digital School, May 20th 2020. Retrieved from https://bit.ly/2XNCZEJ

Banet-Weiser, S. (2018). Empowered: Popular feminism and popular misogyny. Duke University Press.

Bereznak, A. (2019), “Memes are the new pop stars: how TikTok become the future of the music industry”, The Ringer, 27th June, available at: https://www.theringer.com/tech/2019/6/27/18760004/tiktok-old-town-road-memes-music-industry (accessed 19 December 2020).

Bossan, C. B.& Kottasz, R. (2020), "Uses and gratifications sought by pre-adolescent and adolescent TikTok consumers", Young Consumers, Vol. 21 No. 4, pp. 463-478.

Bresnick, E. (2019). Intensified Play: Cinematic study of TikTok mobile app. Research Gate, available at: www. researchgate. net/publication/335570557_Intensified_Play_ Cinematic_study_of_TikTok_mobile_app (accessed 5 January 2021).

Chaudron, S., Di Gioia, R. & Gemo, M. (2018). Young children (0-8) and digital technology, a qualitative study across Europe. EUR 29070; doi:10.2760/294383. https://bit.ly/2XwYDNn

Courtois, C., Mechant, P., De Marez, L., & Verleye, G. (2009). Gratifications and seeding behavior of online adolescents. Journal of Computer-Mediated Communication, 15(1), 109-137.

Chung, Y. & Wei, X. (2020). Effects of Perceived Quality of TikTok on User Satisfaction and Continuance Intention and the Role of Commercial Viability. The Journal of Korea Contents Association 20(6), 77-89. https://doi.org/10.5392/JKCA.2020.20.06.077

Creswell, J. (2003). Research Design, Qualitative, Quantitative, and Mixed Methods Approaches. Thousand Oaks: Sage Publications.Creswell, J. (2003). Research Design: Qualitative, Quantitative and Mixed Approaches. London: Sage.

da Silva Monteiro, J. C. (2020). Tiktok como novo suporte midiático para a aprendizagem criativa. Revista Latino-Americana de Estudos Científicos, 05-20.

de Vaus, D. (2013). Surveys in Social Research. London: Routledge.

Feng, Y. L., Chen, C. C., & Wu, S. M. (2019, November). Evaluation of Charm Factors of Short Video User Experience using FAHP–A Case Study of Tik Tok APP. In IOP Conference Series: Materials Science and Engineering (Vol. 688, No. 5, p. 055068). IOP Publishing.

Fuchs, C. (2009). Some Reflections on Manuel Castells’ Book “Communication Power”. tripleC: Communication, Capitalism & Critique. Open Access Journal for a Global Sustainable Information Society, 7(1), 94-108.

Grossman, L. (2006). Person of the year: You. Time, December,13.

Haigney, S. (2020) TikTok is the perfect medium for the splintered attention spans of lockdown. The Guardian, 16 May. Available at: https://www.theguardian.com/commentisfree/2020/may/16/tiktok-perfect-medium-splintered-attention-spans-coronavirus-lockdown (accessed 20 December 2020)

Hauben, M. (1995) ‘The Net and netizens: the impact the Net has on people’s lives’,

http://www.columbia.edu/~rh120/ch106.x01, accessed 23 December 2020.

Hern, A. (2019). Adults don’t get it”: Why TikTok is facing greater scrutiny. The Guardian, 5 July. Available at: https://www.theguardian.com/technology/2019/jul/05/why-tiktok-is-facing-greater-scrutiny-video-sharing-app-child-safety (accessed 22 December 2020)

Kalton, G. (2020). Introduction to Survey Sampling. London: Sage.

Katz, E. (1974). Utilization of mass communication by the individual. The uses of mass communications: Current perspectives on gratifications research, 19-32.

Kennedy, M. (2020). ‘If the rise of the TikTok dance and e-girl aesthetic has taught us anything, it’s that teenage girls rule the internet right now’: TikTok celebrity, girls and the Coronavirus crisis. European Journal of Cultural Studies, 23(6), 1069-1076.

Klug, D. (2020). " It took me almost 30 minutes to practice this". Performance and Production Practices in Dance Challenge Videos on TikTok. arXiv preprint arXiv:2008.13040.

Laermer, R., & Simmons, M. (2008). Punk marketing: junta-te à revolução. Leya.

Leung, L. (2009). User-generated content on the internet: an examination of gratifications, civic engagement and psychological empowerment. New media & society, 11(8), 1327-1347.

Livingstone, S., Óláfsson, K, Helsper, E., Lupiáñez-Villanueva, F., Veltri, G., & Folkvord, F. (2017). Maximizing Opportunities and Minimizing Risks for Children Online: The Role of Digital Skills in Emerging Strategies of Parental Mediation. Journal of Communication, 67(1), 82–105. https://doi.org/10.1111/jcom.12277

McQuail, D. (1984). With the benefit of hindsight: Reflections on uses and gratifications research. Critical Studies in Media Communication, 1(2), 177-193.

McQuail, D., (2003), Teoria da Comunicação de Massas, Fundação Lisboa: Calouste Gulbenkian.

Musso, P. (2004). A filosofia da rede. Tramas da rede: novas dimensões filosóficas, estéticas e políticas da comunicação. Porto Alegre: Sulina, 17-38.

O'Hara, K., Mitchell, A. S., & Vorbau, A. (2007). Consuming video on mobile devices. In Proceedings of the SIGCHI conference on Human factors in computing systems (pp. 857-866).

Omar, B., & Wang, D. (2020). Watch, share or create: The influence of personality traits and user motivation on TikTok mobile video usage. International Journal of Interactive Mobile Technologies, 14(4), 121-137.

Paasonen, S. (2018). Affect, data, manipulation and price in social media. Distinktion: Journal of social theory, 19(2), 214-229.

Patel, K. (2020). Tik Tok the New Alternative Media for Youngsters for Online Sharing of Talent: An Analytical Study. Available at SSRN 3600119.

PORDATA (2020). “População Residente: Total e por grandes grupos”. Retrieved from https://bit.ly/2XCrEHG

Ponte, C., Simões, J.A., Batista, S., & Jorge, A. (2017). Crescendo entre Ecrãs: O uso de meios tecnológicos por crianças (3 a 8 anos). Entidade Reguladora para a Comunicação Social (ERC). Retrieved from https://bit.ly/39hwteM

Ponte, C., & Batista, S. (2019). EU Kids Online Portugal. Usos, competências, riscos e mediações da internet reportados por crianças e jovens (9-17 anos). EU Kids Online e NOVA FCSH. https://bit.ly/2XnKClm

Shao, G. (2009). Understanding the appeal of user‐generated media: a uses and gratification perspective. Internet research, Vol. 19 (1), 7-25.

Shao, J. H. & Lee, S. K. (2020). The Effect of Chinese Adolescents’ Motivation to Use TikTok on Satisfaction and Continued Use Intention. The Journal of the Convergence on Culture Technology 6(2), 107-115. https://doi.org/10.17703/JCCT.2020.6.2.107

Takahashi, M., Fujimoto, M., & Yamasaki, N. (2003, November). The active lurker: influence of an in-house online community on its outside environment. In Proceedings of the 2003 international ACM SIGGROUP conference on Supporting group work (pp. 1-10).

Tang, D. (2019). The New Situation of Marketing in the Self-Media Era-Taking Tik Tok as an Example.

Wang, Y. (2020). Humor and camera view on mobile short-form video apps influence user experience and technology-adoption intent, an example of TikTok (DouYin). Computers in Human Behavior, 110, 106373.

Yang, S., Zhao, Y., & Ma, Y. (2019, July). Analysis of the Reasons and Development of Short Video Application—Taking Tik Tok as an Example. In Proceedings of the 2019 9th International Conference on Information and Social Science (ICISS 2019), Manila, Philippines (pp. 12-14).

Xu, L., Yan, X., & Zhang, Z. (2019). Research on the causes of the “Tik Tok” app becoming popular and the existing problems. Journal of Advanced Management Science Vol, 7(2).

Zhang, Z. (2020). Infrastructuralization of Tik Tok: Transformation, power relationships, and platformization of video entertainment in China. Media, Culture & Society, 0163443720939452.

Descargas

Publicado

23-08-2021

Número

Núm. 147 (2021): Redes digitales como espejos sociotécnicos de Iberoamérica

Sección

Monográfico:Convocatoria 147. Redes digitales como espejos sociotécnicos de Iberoamérica

Licencia

  • Los autores/as conservarán plenos derechos de autor sobre su obra y garantizarán a la revista el derecho de primera publicación, el cuál estará simultáneamente sujeto a la Licencia Reconocimiento-SinObraDerivada de Creative Commons (CC BY-ND), que permite a terceros la redistribución, comercial y no comercial, siempre y cuando la obra no se modifique y se transmita en su totalidad, reconociendo su autoría.
  • Los autores/as podrán adoptar otros acuerdos de licencia no exclusiva de distribución de la versión de la obra publicada (p. ej.: depositarla en un archivo telemático institucional o publicarla en un volumen monográfico) siempre que se indique la publicación inicial en esta revista.
  • Se permite y recomienda a los autores/as difundir su obra a través de Internet.