The Case of Youtuber Pewdiepie
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Developing a Curriculum for TEFL 107: American Childhood Classics
Minnesota State University Moorhead RED: a Repository of Digital Collections Dissertations, Theses, and Projects Graduate Studies Winter 12-19-2019 Developing a Curriculum for TEFL 107: American Childhood Classics Kendra Hansen [email protected] Follow this and additional works at: https://red.mnstate.edu/thesis Part of the American Studies Commons, Education Commons, and the English Language and Literature Commons Recommended Citation Hansen, Kendra, "Developing a Curriculum for TEFL 107: American Childhood Classics" (2019). Dissertations, Theses, and Projects. 239. https://red.mnstate.edu/thesis/239 This Project (696 or 796 registration) is brought to you for free and open access by the Graduate Studies at RED: a Repository of Digital Collections. It has been accepted for inclusion in Dissertations, Theses, and Projects by an authorized administrator of RED: a Repository of Digital Collections. For more information, please contact [email protected]. Developing a Curriculum for TEFL 107: American Childhood Classics A Plan B Project Proposal Presented to The Graduate Faculty of Minnesota State University Moorhead By Kendra Rose Hansen In Partial Fulfillment of the Requirements for the Degree of Master of Arts in Teaching English as a Second Language December, 2019 Moorhead, Minnesota Copyright 2019 Kendra Rose Hansen v Dedication I would like to dedicate this thesis to my family. To my husband, Brian Hansen, for supporting me and encouraging me to keep going and for taking on a greater weight of the parental duties throughout my journey. To my children, Aidan, Alexa, and Ainsley, for understanding when Mom needed to be away at class or needed quiet time to work at home. -
Pewdiepie, Popularity, and Profitability
Pepperdine Journal of Communication Research Volume 8 Article 4 2020 The 3 P's: Pewdiepie, Popularity, and Profitability Lea Medina Pepperdine University, [email protected] Eric Reed Pepperdine University, [email protected] Cameron Davis Pepperdine University, [email protected] Follow this and additional works at: https://digitalcommons.pepperdine.edu/pjcr Part of the Communication Commons Recommended Citation Medina, Lea; Reed, Eric; and Davis, Cameron (2020) "The 3 P's: Pewdiepie, Popularity, and Profitability," Pepperdine Journal of Communication Research: Vol. 8 , Article 4. Available at: https://digitalcommons.pepperdine.edu/pjcr/vol8/iss1/4 This Article is brought to you for free and open access by the Communication at Pepperdine Digital Commons. It has been accepted for inclusion in Pepperdine Journal of Communication Research by an authorized editor of Pepperdine Digital Commons. For more information, please contact [email protected], [email protected], [email protected]. 21 The 3 P’s: Pewdiepie, Popularity, & Popularity Lea Medina Written for COM 300: Media Research (Dr. Klive Oh) Introduction Channel is an online prole created on the Felix Arvid Ul Kjellberg—more website YouTube where users can upload their aectionately referred to as Pewdiepie—is original video content to the site. e factors statistically the most successful YouTuber, o his channel that will be explored are his with a net worth o over $15 million and over relationships with the viewers, his personality, 100 million subscribers. With a channel that relationship with his wife, and behavioral has uploaded over 4,000 videos, it becomes patterns. natural to uestion how one person can gain Horton and Wohl’s Parasocial such popularity and prot just by sitting in Interaction eory states that interacting front o a camera. -
Sources & Data
YouTube Highest Earning Influencers Ranking Name Channel Category Subscribers Total views Earnings Per Video ($) Age 1 JoJo https://www.youtube.com/channel/UCeV2O_6QmFaaKBZHY3bJgsASiwa (Its JoJo Siwa) Life / Vlogging 10.6M 2.8Bn 569112 16 2 Anastasia Radzinskayahttps://www.youtube.com/channel/UCJplp5SjeGSdVdwsfb9Q7lQ (Like Nastya Vlog) Children's channel 48.6M 26.9Bn 546549 6 Coby Cotton; Cory Cotton; https://www.youtube Garrett Hilbert; Cody Jones; .com/user/corycotto 3 Tyler Toney. (Dude Perfect) n Sports 49.4M 10Bn 186783 30,30,30,33,28 FunToys Collector Disney Toys ReviewToys Review ( FunToys Collector Disney 4 Toys ReviewToyshttps://www.youtube.com/user/DisneyCollectorBR Review) Children's channel 11.6M 14.9Bn 184506 Unknown 5 Jakehttps://www.youtube.com/channel/UCcgVECVN4OKV6DH1jLkqmcA Paul (Jake Paul) Comedy / Entertainment 19.8M 6.4Bn 180090 23 6 Loganhttps://www.youtube.com/channel/UCG8rbF3g2AMX70yOd8vqIZg Paul (Logan Paul) Comedy / Entertainment 20.5M 4.9Bn 171396 24 https://www.youtube .com/channel/UChG JGhZ9SOOHvBB0Y 7 Ryan Kaji (Ryan's World) 4DOO_w Children's channel 24.1M 36.7Bn 133377 8 8 Germán Alejandro Garmendiahttps://www.youtube.com/channel/UCZJ7m7EnCNodqnu5SAtg8eQ Aranis (German Garmendia) Comedy / Entertainment 40.4M 4.2Bn 81489 29 9 Felix Kjellberg (PewDiePie)https://www.youtube.com/user/PewDiePieComedy / Entertainment 103M 24.7Bn 80178 30 10 Anthony Padilla and Ian Hecoxhttps://www.youtube.com/user/smosh (Smosh) Comedy / Entertainment 25.1M 9.3Bn 72243 32,32 11 Olajide William Olatunjihttps://www.youtube.com/user/KSIOlajidebt -
The Power of You in Youtube
HA RNESSING THE POWER OF " YOU" IN YouTube How just one word - "YOU" - can double your YouTube viewership Writ t en and Researched by Dane Golden and Phil St arkovich a st udy by and .com HARNESSING THE POWER OF "YOU" IN YOUTUBE - A TUBEBUDDY/ HEY.COM STUDY - Published Feb. 7, 2017 EXECUTIVE SUMMARY HINT: IT'S NOT ME, IT'S "YOU" various ways during the first 30 platform. But it's more likely that "you" is seconds versus videos that did not say a measurable result of videos that are This study is all about YouTube and "YOU." "you" at all in that period. focused on engaging the audience rather than only talking about the subject of the After extensive research, we've found that saying These findings show a clear advantage videos. YouTube is a personal, social video the word "you" just once in the first 5 seconds of for videos that begin with a phrase platform, and the channels that recognize a YouTube video can increase overall views by such as: "Today I'm going to show you and utilize this factor tend to do better. 66%. And views can increase by 97% - essentially how to improve your XYZ." doubling the viewcount - if "you" is said twice in Importantly, this study shows video the first 5 seconds (see table on page 22). While the word "you" is not a silver creators and businesses how to make bullet to success on YouTube, when more money with YouTube. With the word And "you" affects more than YouTube views. We used in context as a part of otherwise "you," YouTubers can double their also learned that simply saying "you" just once in helpful or interesting videos, combined advertising revenue, ecommerce the first 5 seconds of a video is likely to increase with a channel optimization strategy, companies can drive more website clicks, likes per view by approximately 66%, and overall saying "you" has been proven to apps can drive more downloads, and B2B engagements per view by about 68%. -
Barclays (Pdf, 0.93
Elmar Heggen, CFO London, 3 September 2013 The leading European entertainment network Agenda ● HALF-YEAR HIGHLIGHTS o Strategy Update The leading European entertainment network 2 RTL Group with strong performance in first-half 2013 o Successful IPO at Frankfurt Stock Exchange o Strong interim results demonstrating resilience of diversified portfolio and business model o Significantly higher EBITA and net profit for the first half of 2013 despite tough economic environment o Strong cash flow generation leading to interim dividend payment o Clear focus on executing our growth strategy “broadcast – content – digital” RTL GROUP CONTINUES TO CREATE VALUE The leading European entertainment network 3 Successful IPO € 65,0 RTL Group vs DAX (since April 2013) +13.8% 63,0 61,0 59,0 57,0 +1.1% 55,0 o Largest EMEA IPO this year 53,0 51,0 o Largest media IPO since 2004 29 April 2013 14 May 2013 29 May 2013 13 June 2013 28 June 2013 RTL Group (Frankfurt) DAX (rebased) o SDAX inclusion from 24 June 2013 o Prime standard reporting The leading European entertainment network 4 Half-year highlights 2013 REVENUE €2.8 billion REPORTED EBITA continuing operations €552 million EBITA MARGIN CASH CONVERSION INTERIM DIVIDEND NET RESULT 19.9% 120% €2.5 per share €418 million SECOND BEST FIRST-HALF EBITA RESULT; INTERIM DIVIDEND ANNOUNCED The leading European entertainment network 5 Agenda o Half-year Highlights ● STRATEGY UPDATE The leading European entertainment network 6 Our strategy for success The leading European entertainment network 7 RTL Group continues to lead in all its three strategic pillars Broadcast Content Digital • #1 or #2 in 8 European • #1 global TV entertainment • Leading European media countries content producer company in online video • Leading broadcaster: 56 • Productions in 62 • Strong online sales houses TV and 28 radio channels countries; Distribution into with multi-screen expertise 150+ territories The leading European entertainment network 8 We are working hard on our strategic goals.. -
Media Manipulation and Disinformation Online Alice Marwick and Rebecca Lewis CONTENTS
Media Manipulation and Disinformation Online Alice Marwick and Rebecca Lewis CONTENTS Executive Summary ....................................................... 1 What Techniques Do Media Manipulators Use? ....... 33 Understanding Media Manipulation ............................ 2 Participatory Culture ........................................... 33 Who is Manipulating the Media? ................................. 4 Networks ............................................................. 34 Internet Trolls ......................................................... 4 Memes ................................................................. 35 Gamergaters .......................................................... 7 Bots ...................................................................... 36 Hate Groups and Ideologues ............................... 9 Strategic Amplification and Framing ................. 38 The Alt-Right ................................................... 9 Why is the Media Vulnerable? .................................... 40 The Manosphere .......................................... 13 Lack of Trust in Media ......................................... 40 Conspiracy Theorists ........................................... 17 Decline of Local News ........................................ 41 Influencers............................................................ 20 The Attention Economy ...................................... 42 Hyper-Partisan News Outlets ............................. 21 What are the Outcomes? .......................................... -
Over 3 Million Youtube Creators Globally Receive Some Level Of
MEDIA FOLLOW THIS Social media entertainment – the kind that has seen huge growth on YouTube and other platforms – needs understanding if there is to be any measured policy response, writes STUART CUNNINGHAM from an Australian perspective ver the past 10 years or so, in the midst of all 1+ million; 2,000+ Australian YouTube channels the cacophony of change we are well familiar earned between $1,000 and $100,000 and more than with, a new creative industry was born. With 100 channels earned more than $100,000. More O my collaborator David Craig, a veteran than 550,000 hours of video were uploaded by Hollywood executive now teaching at the University Australian creators and over 90% of the followers of of Southern California Annenberg School for Australian channels were international. Communication and Journalism, I have been That’s only YouTube, and only the programmatic examining the birth and early childhood of what advertising revenue that can be tracked by Google. we call social media entertainment. It is peopled by A Google-funded study by AlphaBeta2 estimates that cultural leaders, entertainers and activists most of the number of content creators in Australia has whom you may be very unfamiliar with... Here more than doubled over the past 15 years, almost are some of them – Hank Green, Casey Neistat, wholly driven by the entry of 230,000 new creators PewDiePie, Tyler Oakley. of online video content. The same study estimates We understand social media entertainment to be that online video has created a A$6 billion an emerging industry based on previously amateur consumer surplus (the benefit that consumers get creators professionalising and monetising their in excess of what they have paid for that service). -
Think Gaming Content Is Niche? Think Again
THINK GAMING CONTENT IS NICHE? THINK AGAIN WRITTEN BY Gautam Ramdurai THE RUNDOWN PUBLISHED December 2014 Gaming has woven its way into all areas of pop culture—sports, music, television, and more. Its appeal goes far beyond teenage boys (women are now the largest video game–playing demographic!). So it’s no surprise that gaming content has taken off on YouTube. Why? As one gaming creator put it, “You don’t have to play soccer to enjoy it on TV.” From an advertiser’s perspective, gaming content is a rare breed—one that delivers engagement and reach. Even if your brand isn’t part of the gaming industry, you can get in on the action. Gautam Ramdurai, Insights Lead, Pop Culture & Gaming at Google, explains how. Take a broad look at pop culture, and you’ll see that “gaming” is tightly woven into its fabric. It’s everywhere—in music, television, movies, sports, and even your favorite cooking shows. And as gaming content takes off on YouTube, gaming is becoming not only something people do but also something they watch. A generation (18–34-year-old millennials) has grown up on gaming. For them, having a gaming console was as ordinary as having a TV. They can probably still recall blowing into game cartridges and wondering if it made a difference. And if they grew up on gaming, they came of age in the YouTube era. Many now consider it the best platform to explore their passions. (Platforms surveyed include AOL, ComedyCentral.com, ESPN.com, Facebook, Hulu, Instagram, MTV.com, Tumblr, Vimeo, and YouTube.) This convergence has resulted in an abundance of gaming content, and brands interested in connecting with this interested and engaged audience should take note. -
How's It Going Bros: Pewdiepie's Memeing in Tertiary Orality
HOW’S IT GOING BROS: PEWDIEPIE’S MEMEING IN TERTIARY ORALITY by TRAVIS BROWN (Under the Direction of Shira Chess) ABSTRACT PewDiePie, the most subscribed YouTuber with 61 million subscribers, became a controversial figure in 2017 after cases of hate speech in his videos. While his hate speech has obvious room for exploration, it is impossible to examine his hate speech without first analyzing the creation of his memetic language within the broader digital culture in which he exists and how users within that digital culture adopt his language. This thesis explores the development of orality in digital culture, placing PewDiePie in the middle of the tertiary orality and meme culture. Upon analysis of PewDiePie’s videos and the language adopted by his audience, I conclude PewDiePie’s intent for his speech does not matter, as propagators of hate speech interpellated that they are the subject of his speech. INDEX WORDS: orality; tertiary orality; digital culture; participatory culture; memetics; internet memes; ambivalent internet; interpellation; YouTube; PewDiePie HOW’S IT GOING BROS: PEWDIEPIE’S MEMEING IN TERTIARY ORALITY by TRAVIS BROWN A.B.J., The University of Georgia, 2016 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2018 © 2018 Travis Brown All Rights Reserved HOW’S IT GOING BROS: PEWDIEPIE’S MEMEING IN TERTIARY ORALITY by TRAVIS BROWN Major Professor: Shira Chess Committee: Itai Himelboim Jay Hamilton Electronic Version Approved: Suzanne Barbour Dean of the Graduate School The University of Georgia May 2018 DEDICATION To Mom, for instilling in me my love for learning; And Elizabeth, for keeping me sane while I do so. -
The Youtubers Phenomenon: What Makes Youtube Stars So Popular for Young People?
ISSN electrónico: 2172-9077 https://doi.org/10.14201/fjc201817107123 THE YOUTUBERS PHENOMENON: WHAT MAKES YOUTUBE STARS SO POPULAR FOR YOUNG PEOPLE? El fenómeno de los YouTubers: ¿qué hace que las estrellas de YouTube sean tan populares entre los jóvenes? Sara PEREIRA Associate Professor at the Department of Communication Sciences and researcher at the Communication and Society Research Centre, University of Minho, Portugal E-mail: [email protected] https://orcid.org/0000-0002-9978-3847 Pedro MOURA PhD Student in Communication Sciences at the University of Minho, Portugal E-mail: [email protected] http://orcid.org/0000-0003-1807-7447 Joana FILLOL PhD Student in Communication Sciences at the University of Minho, Portugal E-mail: mailto:[email protected] https://orcid.org/0000-0002-8577-7809 Fecha de recepción del artículo: 08/08/2018 Fecha de aceptación definitiva: 21/10/2018 ABSTRACT This paper aims to explore and to analyse the channels and the five most viewed videos published in May 2017 by two YouTubers – the Portuguese Wuant and the Swede PewDiePie. These YouTube stars were highlighted by a sample of Portuguese teenagers during the fieldwork of the European research project Transmedia Literacy. Based on these two cases, the article intends to identify the main distinctive traits of their productions, focusing on con- tents, performances and aesthetics, seeking to understand what characteristics make these YouTubers so popular among the young generation. The video analysis reveals complex, hybrid characters whose merit of attracting mil- lions of fans cannot be denied. Their eccentric body language, the preference for easy jokes, the recurrence of slang, and a certain civic apathy are some of the very distinguishing features of these YouTubers. -
You Tube Profit Models
Contact Information Winny Paola Nieto Parra YouTube: The BusinessYouTube Model CSU Stanislaus [email protected] Paola Nieto, California State University Stanislaus Books by YouTuber’s Alfie Deyes, Michelle Phan, and Zoe Sugg. YouTuber of PewDIePie Zoe Sugg in the cover of Company Magazine. The New Path Companies are starting to stray from solely endorsing traditional celebrities and moving into the tight knit communities of YouTube. Unlike traditional celebrities, people see YouTubers as approachable friends and equals. However, YouTubers need to be careful not to violate the trust of their viewers and disclose the fact a brand is sponsoring them. http://i.ytimg.com/vi/g1vLIN7pXHA/maxresdefault.jpg https://charlotteslife93.files.wordpress.com/2014/12/img_7516.jpg YouTubers’ Business Model Bethany Mota in a beauty video. YouTuber Grace Helbig’s show in E! YouTubers are able to profit for themselves in multiple ways. One way is through revenue generated by advertising in their videos, but YouTube usually keeps around 45% of that revenue. Some YouTubers are also expanding into the book business by publishing their own books like Alfie Deyes’ “The Pointless Book” from the Pointlessblog YouTube channel and Zoe Sugg’s “Girl Online” from the YouTube channel Zoella. Others like Michelle Phan have expanded in all other Medias. She has a book called “Make Up” and her own cosmetics line http://tve-static-eonline.nbcuni.com/prod/image/340/215/Grace_S1_2560x1450_1280x725_423161923927.jpg http://celebmafia.com/wp-content/uploads/2014/03/zoella-company-magazine-uk-april-2014-cover_1.jpg from L'Oreal .She also has endorsed products including Dr. Pepper, Toyota and SanDisk. -
Youtube: Theater for Gen Z's Hyperreality
Bard College Bard Digital Commons Senior Projects Spring 2020 Bard Undergraduate Senior Projects Spring 2020 Youtube: Theater for Gen Z’s Hyperreality Marina E. Laprade Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2020 Part of the Visual Studies Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Laprade, Marina E., "Youtube: Theater for Gen Z’s Hyperreality" (2020). Senior Projects Spring 2020. 161. https://digitalcommons.bard.edu/senproj_s2020/161 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. 1 Youtube: Theater for Gen Z’s Hyperreality Senior Project Submitted to The Division of the Art of Bard College by Marina Laprade Annandale-on-Hudson, New York May 2020 2 Acknowledgements Thank you to Susan and to everyone else who supported me while writing this. Thank you Cayce Pollard and your jetlagged mirror world. 3 Table of Contents Introduction Thesis……………………………………………………………………………………………...4 Context The Vlogging Influencer………………………………………………………………..