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The Challenges We Face The Challenges We Face An archeology of digital culture, examining how participatory culture, microcelebrity and viral marketing have facilitated rising commercialisation and genres on YouTube through the exploitation of the user. Author: Joel S. Ridley Student ID: 12282332 Study Programme: New Media and Digital Culture (MA) Thesis Supervisor: d hr. dr. M.D. Marc Tuters Word Count: 22,690 Introduction 2 Critical Framework 6 Conceptualising The Meme 6 Memetic Mythology, Folklore & Prestige 7 Stickiness & Spreadability 9 Infectious Viral Marketing 11 Microcelebrity Microculture 12 Big-seed Marketing 14 Staged Personae & Public Perception 14 Establishing the Risk of Exploitation 16 Methodology 18 Selecting a Study 18 Practical Considerations: What is a viral video challenge? 20 Categorisation of Challenges 23 Findings: 26 The Challenges we Face 26 Accounting for Anomalies 49 Analysis of Results 54 The Key to Age-Locked Videos 54 Major Risk to Minors 55 Active Actors 56 Related Actor Networks 58 Visualizing Views 61 Measuring Public Perception: Likes and Dislikes 65 Community Comments 68 The Lengths we go to: Discussing Duration 70 Interconnected Caption Content 72 Tantalizing Titles 72 Conclusion 75 Bibliography 78 1 Introduction The aim of this thesis is to delineate the recent emergence of the viral video challenge genre on social media platforms. By conducting an online archaeology of recent Internet history I hope to break the academic silence surrounding the viral video challenge by contributing to the discourse through analysis of cultural artefacts on social media, and the quantitative datametrics that they provide. This is an important contribution as until now the cultural discourse surrounding the viral video challenge has been largely shaped by a combination of fear mongering news sources and social media posts; allowing the genre to amass billions of views. The more popular the viral video challenge format becomes, the more risk it accumulates. Thereby increasing the potential for both physical harm (through emulation of dangerous challenges), and loss of agency (through the dubious exploitation of cultural trends for personal socio-economic gain). By evaluating the recent patterns of digital trends, such as the viral video challenge genre, this paper hopes to shed light on the current state of aairs surrounding participatory culture on social media. Especially as this particular genre shows no sign of slowing down (See fi gure 1) . 2 Through the analysis of past events I aim to provide the tools and the terminology to assist social commentators in their preparation of future participation-based trends. Indeed, social media platforms provide a bountiful resource for academic research. However, Dr. Limor Shifman, author of books such as Memes in Digital Culture (2 013 ) has stated that out of all the social media platforms, “YouTube stands out as a unique platform both for the propagation of memes and for their research” (Shifman, Limor. 2012, p.3). Indeed, the cultural impact of YouTube is conrmed by Hartley’s assertion that YouTube contributes to the turning of a 'read- based' civilization into a 'read and write' society (Hartley, John. 2004). By delineating key historical moments of the viral video challenge genre, I hope to outline how this particular phenomenon devolved from its initial success as a platform for motoneurone charities, to what it is today. Namely, a dangerous melting pot of participatory culture, clickbait and exploitation fuelled by the promise of fame; paradoxically condoned by the “rising commercialisation” of YouTube, but condemned by the same platform’s “community guidelines” (Rogers, Richard. (Worksheet Version). 17 Dec. 2018, p.6). I hope that by discussing the potential challenges of participatory culture, this paper will assist social commentators to better understand contemporary digital culture through a relevant example of recent Internet phenomena. This is an attempt to facilitate a necessary solution to the contemporary problem of Dangerous viral video challenges , which have been known to cause death and injury to participants. The rising popularity of viral video challenges may be attributed to several key factors. Primarily, the increased number of social media users (particularly on platforms such as Facebook, Twitter and YouTube) , and ever increasing ubiquity of camera phones and their associated ease of publishing content on social media. Indeed, one must agree with Mel Stanl when she writes that “participation through creativity,” is “a hallmark of what new media renders technologically possible” (Stanll, Mel. 7 Aug. 2015, p.1067). Therefore participation in viral video challenges could be interpreted as a cultural reaction to the evolved aordances of contemporary technology. Furthermore, there seems to be a rising desire within the global teen audience to achieve some level of micro celebrity within their respective platforms. This desire may be linked to the rising reliance of social media datametrics as an indicator of popularity in a culture with increasing social implications of a participation-based culture. Indeed, these advances in new media allow content creators to have increased access to technology. This rising reliance on technology can be seen through the use of smartphones that have the capacity to live stream directly to social media, or editing software that makes it cheap and easy to produce novel content. As these technological aordances are increased, so too are the community expectations. Therefore prioritising the importance of original and creative content in the circulation of viral video challenges . One might suggest that the quest for innovative content is another contributing factor to the increased risk of participatory challenges. In digital culture, it seems that users are increasingly willing to put themselves at risk for the sake of distinctive content. Perhaps due to the nancial incentive of Y ouTube’ s monetization characteristics. 3 Therefore, in order to formulate a dynamic historical account of how attitudes surrounding YouTube genres have evolved (or devolved) over the past half-decade, this paper shall research and discuss the origins, growth, theories, personalities and crises of the recent viral video challenge phenomena. In order to delineate the emerging genre, I will rely upon several existing critical frameworks. These include the academic study of viral Internet ‘memes’, the participatory culture of YouTube (and its context within the sphere of social media platforms), and viral marketing. This is in order to contextualize the nuances of the phenomena so as to isolate and demarcate the factors that contribute most signicantly to the spread of the viral video challenge within digital culture. In order to do this, rst one must discuss the importance of memes and participation on social media; particularly for content creators and their fans. Therefore, this paper will discuss datametrics that are relevant to YouTube’s apparent incentivisation of risk. Additionally, by utilizing viral marketing theory this study will be equipped with the theoretical framework and academic discussion surrounding the exploitation of viral trends. In doing so, this paper hopes to shed light on several recurring trends that contribute to the success of viral videos within our current digital epoch. The starting observation for this topic of study was the seemingly vast disparity between viral video challenges from 2014 and the present day. Originally these challenges started as a way to raise awareness for rare diseases, as demonstrated by the popularity of the “ALS Ice Bucket Challenge ” (which climaxed in popularity during the summer of 2014). However, these challenges have now seemingly devolved to viral recordings of dangerous stunts primarily aimed at teens and young adults, such as the recent “ Bird Box challenge ” that started in December 2018. This challenge encourages individuals to recreate the experiences of characters in a recent Netix original lm: ‘Bird Box’. The horror lm centers follows a mother (played by Sandra Bullock), and her children who are forced to wear blindfolds to avoid a mysterious force that kills anyone looking at it. This became a viral video challenge as clips emerged of users on YouTube and Twitter , attempting dierent “challenges” while blindfolded to emulate Bullock’s character. These challenges included contributions from high-prole but problematic YouTube micro celebrities, such as Logan Paul, lming themselves walking through trac and driving blindfolded. This unsurprisingly resulted in multiple injuries, including a Utah teenager crashing her car into oncoming trac attempting to replicate the stunt (Horton, Adrian. The Guardian. 11 Jan. 2019 ). Rising cynicism of the genre, generated from widespread coverage of viral video challenges on social media has forced YouTube to crack down on potentially dangerous content. Citing similar recent viral video trends such as the Tide Pod challenge (eating laundry detergent) and The Fire Challenge (setting yourself on re), a spokesperson for YouTube stated that challenges “that can cause death and/or have caused death in some instances have no place on YouTube” (Hern, Alex. The Guardian. 16 Jan. 2019 ). However, the fact that YouTube is only just changing their community guidelines in order to better protect their younger users, proves that a serious discussion concerning the future of the genre is necessary. In only a short time these challenges have devolved from a source
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