Disturbed Youtube for Kids: Characterizing and Detecting Inappropriate Videos Targeting Young Children
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Media Nations 2019
Media nations: UK 2019 Published 7 August 2019 Overview This is Ofcom’s second annual Media Nations report. It reviews key trends in the television and online video sectors as well as the radio and other audio sectors. Accompanying this narrative report is an interactive report which includes an extensive range of data. There are also separate reports for Northern Ireland, Scotland and Wales. The Media Nations report is a reference publication for industry, policy makers, academics and consumers. This year’s publication is particularly important as it provides evidence to inform discussions around the future of public service broadcasting, supporting the nationwide forum which Ofcom launched in July 2019: Small Screen: Big Debate. We publish this report to support our regulatory goal to research markets and to remain at the forefront of technological understanding. It addresses the requirement to undertake and make public our consumer research (as set out in Sections 14 and 15 of the Communications Act 2003). It also meets the requirements on Ofcom under Section 358 of the Communications Act 2003 to publish an annual factual and statistical report on the TV and radio sector. This year we have structured the findings into four chapters. • The total video chapter looks at trends across all types of video including traditional broadcast TV, video-on-demand services and online video. • In the second chapter, we take a deeper look at public service broadcasting and some wider aspects of broadcast TV. • The third chapter is about online video. This is where we examine in greater depth subscription video on demand and YouTube. -
Disturbed Youtube for Kids: Characterizing and Detecting Inappropriate Videos Targeting Young Children
Proceedings of the Fourteenth International AAAI Conference on Web and Social Media (ICWSM 2020) Disturbed YouTube for Kids: Characterizing and Detecting Inappropriate Videos Targeting Young Children Kostantinos Papadamou, Antonis Papasavva, Savvas Zannettou,∗ Jeremy Blackburn,† Nicolas Kourtellis,‡ Ilias Leontiadis,‡ Gianluca Stringhini, Michael Sirivianos Cyprus University of Technology, ∗Max-Planck-Institut fur¨ Informatik, †Binghamton University, ‡Telefonica Research, Boston University {ck.papadamou, as.papasavva}@edu.cut.ac.cy, [email protected], [email protected] {nicolas.kourtellis, ilias.leontiadis}@telefonica.com, [email protected], [email protected] Abstract A large number of the most-subscribed YouTube channels tar- get children of very young age. Hundreds of toddler-oriented channels on YouTube feature inoffensive, well produced, and educational videos. Unfortunately, inappropriate content that targets this demographic is also common. YouTube’s algo- rithmic recommendation system regrettably suggests inap- propriate content because some of it mimics or is derived Figure 1: Examples of disturbing videos, i.e. inappropriate from otherwise appropriate content. Considering the risk for early childhood development, and an increasing trend in tod- videos that target toddlers. dler’s consumption of YouTube media, this is a worrisome problem. In this work, we build a classifier able to discern inappropriate content that targets toddlers on YouTube with Frozen, Mickey Mouse, etc., combined with disturbing con- 84.3% accuracy, and leverage it to perform a large-scale, tent containing, for example, mild violence and sexual con- quantitative characterization that reveals some of the risks of notations. These disturbing videos usually include an inno- YouTube media consumption by young children. Our analy- cent thumbnail aiming at tricking the toddlers and their cus- sis reveals that YouTube is still plagued by such disturbing todians. -
"Youtube Kids" – Another Door Opener for Pedophilia?
Online link: www.kla.tv/12561 | Published: 08.06.2018 "YouTube Kids" – another door opener for Pedophilia? „Elsagate“: With the App „You Tube-Kids”, You Tube offers a service that is supposed to help parents to protect their children from inappropriate contents. However, while parents think they are safe, children are confronted with brutal videos including scenes of violence, perverse sex fantasies and cannibalism. These disturbing contents are staged by characters like Ice Queen "Elsa, “Spiderman” or “Mickey Mouse”. Is “YouTube-Kids” being abused as door-opener to make children receptive to abhorrent practices and pedophilia “socially acceptable”? Since 2015 YouTube has been offering a service with the App "YouTube Kids" to help parents and children to receive only those video-clips in the proposal bar that are child and family friendly. An algorithm (that is a method of calculation) takes over the function of filtering the content that is unsuitable for children. The App has been installed more than 60 million times and is available in 37 countries and eight languages – since September 2017 also in Germany. Unfortunately, this App – that promises safety for children – however, is in no way as reliable as many parents wish it was. On the contrary: it is even dangerous. Already since June 2016 media reports have increased that children are confronted with a number of brutal children's series and animated videos that – beyond any morality – convey extremely repulsive content and that are filled with topics that are in no way suitable for children. It's about violence scenes, perverse sex fantasies or cannibalism. -
Audio-Visual Genres and Polymediation in Successful Spanish Youtubers †,‡
future internet Article Audio-Visual Genres and Polymediation in Successful Spanish YouTubers †,‡ Lorenzo J. Torres Hortelano Department of Sciences of Communication, Universidad Rey Juan Carlos, 28943 Fuenlabrada, Madrid, Spain; [email protected]; Tel.: +34-914888445 † This paper is dedicated to our colleague in INFOCENT, Javier López Villanueva, who died on 31 December 2018 during the finalization of this article, RIP. ‡ A short version of this article was presented as “Populism, Media, Politics, and Immigration in a Globalized World”, in Proceedings of the 13th Global Communication Association Conference Rey Juan Carlos University, Madrid, Spain, 17–19 May 2018. Received: 8 January 2019; Accepted: 2 February 2019; Published: 11 February 2019 Abstract: This paper is part of broader research entitled “Analysis of the YouTuber Phenomenon in Spain: An Exploration to Identify the Vectors of Change in the Audio-Visual Market”. My main objective was to determine the predominant audio-visual genres among the 10 most influential Spanish YouTubers in 2018. Using a quantitative extrapolation method, I extracted these data from SocialBlade, an independent website, whose main objective is to track YouTube statistics. Other secondary objectives in this research were to analyze: (1) Gender visualization, (2) the originality of these YouTube audio-visual genres with respect to others, and (3) to answer the question as to whether YouTube channels form a new audio-visual genre. I quantitatively analyzed these data to determine how these genres are influenced by the presence of polymediation as an integrated communicative environment working in relational terms with other media. My conclusion is that we can talk about a new audio-visual genre. -
Youtube Kids: Parent’S Guide
YouTube Kids: parent’s guide YouTube Kids launched in the UK in November 2015 as a service suitable for younger children with age-appropriate content. As of April 2018, it has gone under some major changes. What do you need to know about YouTube Kids? What is YouTube Kids? YouTube Kids is an app developed by YouTube aimed at delivering age-appropriate content to young children. The app is available on Android, iOS and some Smart TVs. Until recently, the content that appeared on the app was predominantly curated by computer-algorithms and essentially the app was a filtered version of the regular body of videos available on YouTube. However, the app will now have some human curation, by the YouTube Kids team, and allow for greater parental control. What type of content can you expect to find on YouTube Kids? YouTube Kids offers free-to-watch content. This content is made freely available by having advertisements run before videos. Content on YouTube Kids ranges from cartoons to nursery rhymes and from toys reviews to music videos. Currently, the channel with the greatest number of subscribers, 16.8 million, on YouTube Kids is “ChuChu TV Nursery Rhymes and Kids Songs” which produces animated versions of popular children’s rhymes as well as its own songs and educational videos. The second most subscribed channel, with 15 million subscribers, is LittleBabyBum which is another channel centered on animated nursery rhymes. YouTube Kids also offers a paid for service called YouTube Red. This allows children to watch original content produced by YouTube as well as seasons of cartoon favourites such as Postman Pat. -
How to Create a Youtube Channel You Will Need a Gmail (Google Account)
How to Create a YouTube Channel You will need a Gmail (google Account) to create a YouTube channel. Create a Gmail account To sign up for Gmail, create a Google Account. You can use the username and password to sign in to Gmail and other Google products like YouTube, Google Play, and Google Drive. 1. Go to the Google Account creation page. 2. Follow the steps on the screen to set up your account. 3. Use the account you created to sign in to Gmail. Create a personal YouTube Channel Follow these instructions to create a channel that only you can manage using your Google Account. 1. Sign in to YouTube on a computer or using the mobile site. 2. Try any action that requires a channel, such as uploading a video, posting a comment, or creating a playlist. 3. If you don't yet have a channel, you'll see a prompt to create a channel. 4. Check the details (with your Google Account name and photo) and confirm to create your new channel. Create a channel with a business or other name Follow these instructions to create a channel that can have multiple managers or owners. You can use a Brand Account to create a channel that has a different name but that's still managed from your Google Account. Learn more about Brand Accounts. 1. Sign in to YouTube on a computer or using the mobile site. 2. Go to your channel list. 3. Choose to create a new channel or use an existing Brand Account: Create a new channel by clicking Create a new channel. -
SCMS 2019 Conference Program
CELEBRATING SIXTY YEARS SCMS 1959-2019 SCMSCONFERENCE 2019PROGRAM Sheraton Grand Seattle MARCH 13–17 Letter from the President Dear 2019 Conference Attendees, This year marks the 60th anniversary of the Society for Cinema and Media Studies. Formed in 1959, the first national meeting of what was then called the Society of Cinematologists was held at the New York University Faculty Club in April 1960. The two-day national meeting consisted of a business meeting where they discussed their hope to have a journal; a panel on sources, with a discussion of “off-beat films” and the problem of renters returning mutilated copies of Battleship Potemkin; and a luncheon, including Erwin Panofsky, Parker Tyler, Dwight MacDonald and Siegfried Kracauer among the 29 people present. What a start! The Society has grown tremendously since that first meeting. We changed our name to the Society for Cinema Studies in 1969, and then added Media to become SCMS in 2002. From 29 people at the first meeting, we now have approximately 3000 members in 38 nations. The conference has 423 panels, roundtables and workshops and 23 seminars across five-days. In 1960, total expenses for the society were listed as $71.32. Now, they are over $800,000 annually. And our journal, first established in 1961, then renamed Cinema Journal in 1966, was renamed again in October 2018 to become JCMS: The Journal of Cinema and Media Studies. This conference shows the range and breadth of what is now considered “cinematology,” with panels and awards on diverse topics that encompass game studies, podcasts, animation, reality TV, sports media, contemporary film, and early cinema; and approaches that include affect studies, eco-criticism, archival research, critical race studies, and queer theory, among others. -
Elsagate” Phenomenon: Disturbing Children’S Youtube Content and New Frontiers in Children’S Culture
Selected Papers of #AoIR2019: The 20th Annual Conference of the Association of Internet Researchers Brisbane, Australia / 2-5 October 2019 EXAMINING THE “ELSAGATE” PHENOMENON: DISTURBING CHILDREN’S YOUTUBE CONTENT AND NEW FRONTIERS IN CHILDREN’S CULTURE Jessica Balanzategui Swinburne University of Technology Contemporary children are turning to online video streaming as an “alternative for TV” (Ha 2018, 1) in increasing numbers (see Australian Communications and Media Authority 2017, 20-22). In addition, US-based global video streaming platforms, primarily YouTube and Netflix, are becoming “more influential in screen production ecologies” when it comes to children’s content (Potter 2017a, 22). Yet, as increasing numbers of children consume much of their video content outside of the legacy media spaces of film and television, serious concerns are being raised in policy, advocacy (Centre for Digital Democracy, 2018), and journalistic (Bridle, 2017) discussions around the globe because many new children’s video streaming genres are not “child-appropriate” according to extant definitions and guidelines, such as the internationally endorsed Children’s Television Charter. Alarms have been raised in relation to new genres on YouTube in particular. For instance, in an influential journalistic exposé, James Bridle (2017) argues that YouTube content seemingly aimed at child-viewers is tantamount to “a kind of infrastructural violence” against children’s wellbeing, a point echoed in many other recent long-form journalistic investigations (see for instance Orphanides 2018). Public concerns about the strange approach to children’s content exhibited by various YouTube genres have become so prevalent that the neologism “Elsagate” is now commonly used in media reportage to describe the scandal. -
Looking At, Through, and with Youtube Paul A
Santa Clara University Scholar Commons Communication College of Arts & Sciences 2014 Looking at, through, and with YouTube Paul A. Soukup Santa Clara University, [email protected] Follow this and additional works at: https://scholarcommons.scu.edu/comm Part of the Communication Commons Recommended Citation Soukup, Paul A. (2014). Looking at, through, and with YouTube. Communication Research Trends, 33(3), 3-34. CRT allows the authors to retain copyright. This Article is brought to you for free and open access by the College of Arts & Sciences at Scholar Commons. It has been accepted for inclusion in Communication by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Looking at, with, and through YouTube™ Paul A. Soukup, S.J. [email protected] 1. Looking at YouTube Begun in 2004, YouTube rapidly grew as a digi- history and a simple explanation of how the platform tal video site achieving 98.8 million viewers in the works.) YouTube was not the first attempt to manage United States watching 5.3 billion videos by early 2009 online video. One of the first, shareyourworld.com (Jarboe, 2009, p. xxii). Within a year of its founding, begin 1997, but failed, probably due to immature tech- Google purchased the platform. Succeeding far beyond nology (Woog, 2009, pp. 9–10). In 2000 Singingfish what and where other video sharing sites had attempt- appeared as a public site acquired by Thompson ed, YouTube soon held a dominant position as a Web Multimedia. Further acquired by AOL in 2003, it even- 2.0 anchor (Jarboe, 2009, pp. -
Youtube Marketing: Legality of Sponsorship and Endorsement in Advertising Katrina Wu, University of San Diego
From the SelectedWorks of Katrina Wu Spring 2016 YouTube Marketing: Legality of Sponsorship and Endorsement in Advertising Katrina Wu, University of San Diego Available at: http://works.bepress.com/katrina_wu/2/ YOUTUBE MARKETING: LEGALITY OF SPONSORSHIP AND ENDORSEMENTS IN ADVERTISING Katrina Wua1 Abstract YouTube endorsement marketing, sometimes referred to as native advertising, is a form of marketing where advertisements are seamlessly incorporated into the video content unlike traditional commercials. This paper categorizes YouTube endorsement marketing into three forms: (1) direct sponsorship where the content creator partners with the sponsor to create videos, (2) affiliated links where the content creator gets a commission resulting from purchases attributable to the content creator, and (3) free product sampling where products are sent to content creators for free to be featured in a video. Examples in each of the three forms of YouTube marketing can be observed across virtually all genres of video, such as beauty/fashion, gaming, culinary, and comedy. There are four major stakeholder interests at play—the YouTube content creators, viewers, YouTube, and the companies—and a close examination upon the interplay of these interests supports this paper’s argument that YouTube marketing is trending and effective but urgently needs transparency. The effectiveness of YouTube marketing is demonstrated through a hypothetical example in the paper involving a cosmetics company providing free product sampling for a YouTube content creator. Calculations in the hypothetical example show impressive return on investment for such marketing maneuver. Companies and YouTube content creators are subject to disclosure requirements under Federal law if the content is an endorsement as defined by the Federal Trade Commission (“FTC”). -
How to Create a Youtube Channel You Will Need a Gmail
How to Create a YouTube Channel You will need a Gmail (google Account) to create a YouTube channel. Create a Gmail account To sign up for Gmail, create a Google Account. You can use the username and password to sign in to Gmail and other Google products like YouTube, Google Play, and Google Drive. 1. Go to the Google Account creation page. 2. Follow the steps on the screen to set up your account. 3. Use the account you created to sign in to Gmail. Create a personal YouTube Channel Follow these instructions to create a channel that only you can manage using your Google Account. 1. Sign in to YouTube on a computer or using the mobile site. 2. Try any action that requires a channel, such as uploading a video, posting a comment, or creating a playlist. 3. If you don't yet have a channel, you'll see a prompt to create a channel. 4. Check the details (with your Google Account name and photo) and confirm to create your new channel. Create a channel with a business or other name Follow these instructions to create a channel that can have multiple managers or owners. You can use a Brand Account to create a channel that has a different name but that's still managed from your Google Account. Learn more about Brand Accounts. 1. Sign in to YouTube on a computer or using the mobile site. 2. Go to your channel list. 3. Choose to create a new channel or use an existing Brand Account: • Create a new channel by clicking Create a new channel. -
Influencer Marketing
Influencer marketing 18.4.2019 / Hanna Reinikainen Introduction • Title: Doctoral student • Affiliation: Jyväskylä University School of Business and Economics • Major: Corporate Communication • Research project: #Agents – Young People’s Agency in Social Media • Previous work experience: Communication consultant • Influencer experience: Ex-wedding blogger (“the murkiest blog in the history of this newspaper”) • Hobbies: Brazilianterrier @rio_paulistinha Social media influencers? Bloggers, vloggers, snappers, instagrammers, e-sports influencers… Social media influencers • Endorsers, who shape the attitudes of their followers through social media (Freberg, Graham, McGaughey, & Freberg, 2011). • New and authentic online celebrities (Morris & Anderson, 2015). • Fashionable friends (Colliander & Dahlén, 2011). Who qualifies as a social media influencer? • Anyone, who has a certain amount of followers on social media? • Anyone, who is a professional content creator? • Anyone, who speaks to an audience that your brand is interested in? Influencer marketing • Interaction and relationship building with consumers, through and with the help of social media influencers. • Matching the values of the targeted consumers, the influencer, and your brand • Telling stories that consumers can relate to and that also have an impact. Now also trending... What makes influencers so popular? The power of the visual • Images, especially moving images often evoke strong emotions. • Mobile devices and apps like Instagram and Snapchat have lowered the threshold for shooting and sharing video content. • They also allow us to get really close to influencers. • The content from influencers and our friends appear side by side in our social media feeds. • Video is no longer broadcasting, but a way to interact with other people. Parasocial interaction • ”Illusionary interaction with a media perfomer” (Horton & Wohl, 1956).