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De Gebruiker En Het Mediabedrijf Op Youtube De gebruiker en het mediabedrijf op YouTube Een thematische analyse van de verschillende denkbeelden over user- generated content op YouTube Roos Frelih 3698580 Master Film- en Televisiewetenschap Scriptiebegeleider: Willemien Sanders Tweede lezer: Andrea Meuzelaar 9-1-2017 Abstract In dit onderzoek is een thematische analyse uitgevoerd naar de verschillende denkbeelden over de user-generated content van YouTubers die enerzijds bij traditionele platenmaatschappijen en anderzijds bij YouTubers heersen. Aan de hand van twee casussen is dit onderzoek uitgevoerd, waaronder te verstaan 1) de casus van de aanklacht tegen YouTuber Michelle Phan door platenmaatschappij Ultra Music en 2) de eis en videoverwijdering door Sony van een parodievideo van YouTuber Shane Dawson. De hoofdvraag in het onderzoek is Welke thema’s ontrollen zich in de denkbeelden van platenmaatschappijen en YouTubers over user-generated content op YouTube? De deelvragen luiden: Wat is het denkbeeld van de YouTubers over de user-generated content op YouTube? Wat is het denkbeeld van de platenmaatschappijen over de user- generated content op YouTube? Hoe verhouden de geïdentificeerde thema’s zich tot elkaar? De verschillende denkbeelden van de platenmaatschappijen en de YouTubers over de user-generated content binnen de beschreven casussen zijn in thema’s uiteengezet. In de derde deelvraag zijn tevens de resultaten besproken aan de hand van een terugkoppeling naar het theoretisch kader. Ten slotte is in de conclusie besproken hoe de data en theorie zich verder tot elkaar verhouden. 1 Inhoudsopgave 1. Inleiding p.4 2. Theoretisch kader p.6 3. Methodehoofdstuk p.10 4. Analyse p.14 4.1 Denkbeeld van YouTubers p.14 4.2 Denkbeeld van platenmaatschappijen p.22 4.3 Onderlinge verhoudingen p.27 5. Conclusie p.32 6. Bronnenlijst p.34 7. Bijlagen p.40 7.1 Transcript YouTube video Philip DeFranco p.40 7.2 Transcript YouTube video JustKiddingNews p.42 7.3 Transcript interview Code Mobile met Michelle Phan p.47 7.4 Transcript YouTube video Shane Dawson p.62 7.5 Transcript YouTube video The Know p.64 7.6 Transcript interview Sam Roberts’ Show met Shane Dawson p.66 2 7.7 Twitterberichten Michelle Phan p.120 7.8 Twitterberichten Shane Dawson p.121 7.9 Juridisch document van de aanklacht Ultra Music v. Michelle Phan p.128 7.10 Melding van Sony op YouTube over auteursrechtschending p.148 7.11 YouTube-melding van leeftijdsbeperking voor Dawsons parodievideo p.149 7.12 Mail van YouTube over Sony’s klacht p.150 7.13 Verklaring: Intellectueel eigendom p.151 3 1. Inleiding Michelle Phan is een beauty guru –een make-up artiest die anderen in make-up onderwijst en instrueert- en maakt video’s op YouTube over het creëren van make-up looks. Met meer dan acht miljoen abonnees op haar YouTube kanaal behoort ze tot één van de populairste YouTubers.1 Haar video’s bleven niet onopgemerkt, zo ook niet door platenmaatschappij Ultra Music. In 2014 klaagde de platenmaatschappij Phan aan vanwege het gebruik van Ultra Music’s muziek in Phans video’s. De rechtszaak haalde het nieuws bij onder andere de BBC en ook reacties van andere YouTubers bleven niet uit, die met ongeloof en ontsteltenis op de rechtszaak reageerden. De aanklacht laat zien dat YouTube’s plek in de populaire mediacultuur voor spanningen zorgt tussen de traditionele massamedia en YouTube. De aanklacht van Ultra Music tegen Michelle Phan is bovendien niet de enige in zijn soort. De vraag hoe traditionele media moeten omgaan met de nieuwe digitale media en vice versa, staat centraal in debatten rondom mediaconvergentie. Binnen de convergentiecultuur is YouTube een opmerkelijk medium, omdat YouTube als user- generated content platform populair geworden is.2 In de debatten rondom mediaconvergentie is onder andere Henry Jenkins een belangrijk auteur. In zijn boek Convergence Culture: Where Old and New Media Collide heeft hij het ook over user- generated content en over de verhoudingen tussen nieuwe media en traditionele media.3 Jenkins pleit voor een samenwerkingsverband waarin beide mediakampen van elkaar leren en lenen.4 Ook William Uricchio is een belangrijke auteur binnen het theoretische debat over mediaconvergentie en schrijft in zijn artikel ‘The Future of a Medium Once Known as Television?’ specifiek over hoe de televisie van YouTube zou kunnen leren.5 Hij ziet YouTube als een medium dat onze ideeën over media en in het bijzonder over het proces van veranderingen in het medialandschap ter discussie stelt.6 Vanuit dit theoretische mediaconvergentie perspectief van verhoudingen tussen en veranderingen in nieuwe media en traditionele media, kijk ik naar de hierboven omschreven rechtszaak van Ultra Music versus Michelle Phan als eerste casus in de scriptie. Daarnaast onderzoek ik een tweede casus waarin tevens een YouTuber 1 Aantal abonnees op 26 september 2016. “Michelle Phan - YouTube,” YouTube, geraadpleegd op 26 september 2016, https://www.youtube.com/user/MichellePhan/about. 2 José van Dijck, “YouTube Beyond Technology and Cultural Form,” in After the Break: Television Theory Today, red. Marijke de Valck en Jan Teurlings (Amsterdam: Amsterdam University Press, 2009), 147. 3 Henry Jenkins, Convergence Culture: Where Old and New Media Collide (New York: New York University Press, 2006). 4 Jenkins, Convergence Culture: Where Old and New Media Collide, 245-246. 5 William Uricchio, “The Future of a Medium Once Known as Television?” in The YouTube Reader, red. Pelle Snickars en Patrick Vonderau (Londen: Wallflower Press, 2009), 24-39. 6 Uricchio, “The Future of a Medium Once Known as Television?” 25. 4 aangeklaagd is door een traditioneel mediabedrijf, namelijk de casus van een verwijdering van een parodievideo van YouTuber Shane Dawson door platenmaatschappij Sony. Het fenomeen van dergelijk optreden en inmenging van traditionele platenmaatschappijen op YouTube geeft aan dat er frictie is in het veld tussen de gebruiker op YouTube en het mediabedrijf op YouTube. Ik ga onderzoeken wat de casussen aantonen over de verschillende denkbeelden over de user-generated content van de YouTubers die enerzijds bij de traditionele platenmaatschappijen en anderzijds bij de YouTubers heersen. De hoofdvraag in het onderzoek is Welke thema’s ontrollen zich in de denkbeelden van platenmaatschappijen en YouTubers over user-generated content op YouTube? De deelvragen luiden: Wat is het denkbeeld van de YouTubers over de user-generated content op YouTube? Wat is het denkbeeld van de platenmaatschappijen over de user- generated content op YouTube? Hoe verhouden de geïdentificeerde thema’s zich tot elkaar? Aan de hand van een thematische analyse zijn de verschillende denkbeelden uiteengezet van de platenmaatschappijen en de YouTubers over de user-generated content binnen de beschreven casussen. Ten slotte is in de derde deelvraag en de conclusie getheoretiseerd over hoe de data en theorie zich tot elkaar verhouden. 5 2. Theoretisch kader Binnen de mediawetenschappen is Henry Jenkins één van de invloedrijkste auteurs die het concept van mediaconvergentie bespreekt. Zijn boek Convergence Culture: Where Old and New Media Collide zette vele discussies over mediaconvergentie in gang en zorgde voor veel publicaties over dit onderwerp.7 Mediaconvergentie wordt door Jenkins gedefinieerd als: a situation in which multiple media systems coexist and where media content flows fluidly across them. Convergence is understood here as an ongoing process or series of intersections between different media systems, not a fixed relationship.8 In deze hantering van de term ligt de nadruk meer op de media inhoud en hoe die verspreid is over verschillende media, dan op een technologische blik op de werkingen van convergerende media. Mediaconvergentie is volgens Jenkins belangrijk om te onderzoeken omdat het invloed heeft op de manier waarop media geproduceerd en geconsumeerd worden en we bovendien in een convergentiecultuur leven.9 Deze convergentiecultuur definieert hij als “where old and new media collide, where grassroots and corporate media intersect, where the power of the media producer and the power of the media consumer interact in unpredictable ways.”10 Nieuwe media vervangen oude media niet, maar ze bestaan naast elkaar in de convergentiecultuur. De verhouding tussen consument en media inhoud is daarbij verschoven naar een grotere invloed voor de consument.11 Mediaconvergentie en convergentiecultuur kenmerken het recente medialandschap.12 Mediaconvergentie kent verschillende invullingen, maar Jenkins’ definitie is een belangrijke duiding van het begrip binnen de mediawetenschappen en de definitie die ik zal aanhouden in deze scriptie. Het is daarbij belangrijk te vermelden dat Jenkins’ werk niet vrij is van kritiek. Enerzijds is zijn boek geprezen om de genuanceerde benadering waarmee Jenkins in het boek media over meerdere platformen bestudeert.13 Anderzijds 7 Katarzyna Kopecka-Piech, “Media Convergence Concepts,” Media Studies 3, nr. 46 (2011): 1. 8 Jenkins, Convergence Culture: Where Old and New Media Collide, 322. 9 Ibidem, 16. 10 Ibidem, 2. 11 Ibidem, 264. 12 Ibidem, 2-3. 13 Haidee Wasson, “Convergence Culture: Where Old and New Media Collide by Henry Jenkins | Beyond the Multiplex: Cinema, New Technologies, and the Home by Barbara Klinger,” recensie van Convergence Culture: Where Old and New Media Collide, van Henry Jenkins, en Beyond the Multiplex: Cinema, New Technologies, and the Home, van Barbara Klinger, Film Quarterly 62, nr. 4 (2009): 84, doi: 10.1525/fq.2009.62.4.84. 6 hebben critici echter, met name Nick Couldry, geadresseerd dat zijn concluderende
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