DOCSLIB.ORG

Sosyal Medya Uygulamalari

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Sosyal Medya Uygulamalari SOSYAL MEDYA UYGULAMALARI MEDYA VE İLETİŞİM ÖN LİSANS PROGRAMI DR. ÖĞR. ÜYESİ ÜMİT SARI İSTANBUL ÜNİVERSİTESİ AÇIK VE UZAKTAN EĞİTİM FAKÜLTESİ İSTANBUL ÜNİVERSİTESİ AÇIK VE UZAKTAN EĞİTİM FAKÜLTESİ MEDYA VE İLETİŞİM ÖN LİSANS PROGRAMI SOSYAL MEDYA UYGULAMALARI I DR. ÖĞR. ÜYESİ ÜMİT SARI Yazar Notu Elinizdeki bu eser, İstanbul Üniversitesi Açık ve Uzaktan Eğitim Fakültesi’nde okutulmak için hazırlanmış bir ders notu niteliğindedir. ÖNSÖZ Son dönem de teknolojik alanda yaşanan değişiklikler ve gelişmeler doğrultusunda geleneksel medyaya alternatif olarak ortaya Yeni Medya kavramı çıkarmıştır. Geleneksel medya oranla daha hızlı ve aynı zamanda da interaktif bir iletişim deneyimi sunan bu kavram, kitlelerin yönlendirilmesinde de farklı ve alternatif sonuçları beraberinde getirmiştir. Yeni medya kavramı ile birlikte gelişen medya anlayışı sosyal medya uygulamaları adı altında kullanıcıların anlık, güncel ve hızlı paylaşımlarda bulunabildiği yeni bir süreci başlatmıştır. Hazırlanan bu çalışma ile Medya ve İletişim Programı kapsamında verilecek derslerden Sosyal Medya Uygulamaları dersine bir perspektif sunarak, kullanıcların bu sosyal medya araçları ile etkileşimini ortaya koymayı amaçlamaktadır. Dr. Öğr. Üyesi Ümit SARI I İÇİNDEKİLER 1. Yeni Medyaya Başlarken 1 1.1.Geleneksel Medyadan Yeni Medyaya 6 1.1.1. Çoklu Ortam (Multimedia) 7 1.1.2. Etkileşimlilik (Interactivity) 8 1.1.3. Hipermetin 9 1.1.4. Sanallık 9 1.1.5. Yayılım 9 1.2.Sosyal Medyanın Bireyler Üzerindeki Etkileri 10 1.2.1. Stres 10 1.2.2. Ruh Hali 11 1.2.3. Endişe (Anksite) 11 1.2.4. Depresyon 11 1.2.5. Uyku 12 1.2.6. Bağımlılık 12 1.2.7. Özsaygı 13 1.2.8. Esenlik 13 1.2.9. İlişkiler 13 1.2.10. İmrenme 14 1.2.11. Yalnızlık 14 2. Sosyal Medya Ve Facebook 20 2.1.Sosyal Medya Deyince 25 2.2.Facebook, Başlarken 32 2.3.Facebook Ve Uygulamalar 36 2.3.1. Fotoğraflar 36 2.3.2. Haber Kaynağı 37 2.3.3. Sayfa 37 2.3.4. Gruplar 37 2.3.5. Mesajlar 38 2.3.6. Armağanlar 38 2.3.7. Pazar Yeri 39 2.3.8. Dürtmeler 39 2.3.9. Etkinlikler 39 II 2.3.10. Video 39 2.3.11. Reklamlar 39 2.3.12. Konum 40 2.3.13. Uygulamalar 40 3. Facebook ve İşlevleri 46 3.1.Facebook Profili Oluşturma 51 3.2.Facebook İle İlgili Veriler 54 3.3.Reklam Gelirleri 60 3.4.Facebook Reklam Hedeflemesi ve Kullanım Sektörleri 62 3.5.Facebook’ta Yeni Trendler 65 3.5.1. Facebook Video 66 3.5.2. Facebook Müzik 68 3.5.3. Facebook e-ticaret 68 3.5.4. Facebook at Work 69 3.5.5. Facebook Groups 69 3.5.6. Facebook’ta Etiket Dönemi 69 3.5.7. Facebook Places 70 3.5.8. Son Çeyrekte Yapılacak Yenilikler 70 4. Twitter 77 4.1.Twitter, Başlarken 82 4.2.Bir Twitter Hesabı Oluştururken 83 4.2.1. Twitter Terimleri 85 4.2.2. Twitter Araçları 87 4.3.Etkili Twitter Kullanma Ve Takipçi Artırmanın Yolları 88 5. Twitter ve İşlevleri 98 5.1.Rakamlarla Twitter 103 5.2.Twitter’ın Toplumsal Olaylarda Ortaya Çıkan Rolü 109 5.3.Bir Pazarlama Aracı Olarak Twitter 110 6. Youtube 120 6.1.YouTube, Başlarken 125 6.2.YouTube Üzerinde Kanal Kurma 127 6.3.Rakamlarla YouTube ve Enler 137 6.4.YouTube Araçları 140 III 6.4.1. Oynatma Listesi 141 6.4.2. Kanal Abonelikleri 141 6.4.3. Yorumlar 141 6.4.4. Özel İleti Yollama 142 6.4.5. Hayran Bağışları 142 6.4.6. YouTube Analytics 142 6.5.YouTube Kanal Türleri ve Abonelikler 143 7. YouTube ve İşlevleri 151 7.1.YouTube, Yaratıcı Bir Stratejinin 10 Temel İlkesi 156 7.1.1. Paylaşılabilirlik 156 7.1.2. İletişim 157 7.1.3. Etkileşim 157 7.1.4. Tutarlılık 158 7.1.5. Hedef Belirleme 158 7.1.6. Sürdürülebilirlik 159 7.1.7. Keşfedilebilirlik 159 7.1.8. Erişilebilirlik 160 7.1.9. İşbirliği 160 7.1.10. İlham 161 7.2. YouTube’da Reklam Türleri 162 7.3.YouTube Reklam Ve Pazarlama Stratejileri 163 7.4.YouTube’da Yeni Trendler 165 7.5.Youtuber Kavramı 166 8. Instagram 174 8.1. Instagram, Başlarken 179 8.2.Instagram’da Paylaşım Nasıl Yapılır 183 8.3.Instagram ve Hashtag Kullanımı 188 8.4.Instagram Stories 189 8.5.Instagram Canlı Yayın 190 8.6.Instagram Anketler 190 9. Instagram, Rakamlar ve Reklam İlişkisi 196 9.1.Rakamlarla Instagram 201 9.2.Instagram ve Trendler 202 IV 9.3.Takipçi Artırma Stratejileri 204 9.4.Instagram ve Reklam İlişkisi 205 10. Google+ 214 10.1. Google+ , Başlarken 219 10.2. Hizmetler 220 10.3. Rakamlarla Google+ 225 10.4. SEO Kavramı 229 10.5. Google+ ve Pazarlama İlişkisi 230 11. Tumblr 241 11.1. Tumblr, Başlarken 246 11.2. Tumblr Hizmetleri 251 11.3. Rakamlarla Tumblr 256 11.4. Markalar ve Tumblr 259 11.5. Tumblr ve Pazarlama İlişkisi 264 12. Meerkat, Periscope 271 12.1. Telefondan Canlı Yayın 276 12.2. Meerkat 276 12.3. Periscope 281 12.4. Meerkat Mi, Periscope Mu? 285 13. Foursquare, Swarm 295 13.1. Foursquare Nedir ve Nasıl Çalışır? 300 13.2. Foursquare Bilgileri Nasıl Paylaşır? 302 13.3. Foursquare ve Rozetler 304 13.4. Foursquare’ın Yararları 306 13.5. Foursquare ve Markalar 307 13.6. Foursquare’dan Swarm’a 310 13.7. Swarm, Başlarken 313 13.8. Swarm ve Etiketler 315 13.9. Swarm ve Türkiye Uygulamaları 316 13.10. Swarm’da Reklamlar 318 14. Sosyal Medya Sonuç Yerine 324 14.1. Sosyal Medya Terimleri 329 14.2. Sosyal Medyanın Zararları 331 V 14.3. Sosyal Medyanın Faydaları 332 14.4. Sosyal Medya pazarlama 333 14.5. Sosyal Medya İstatistikleri 335 14.6. Sosyal Medyada Paylaşım Zamanı 337 14.7. 2018’de Sosyal Medyaya Yön Veren Stratejiler 338 KAYNAKÇA 346 VI Kısaltmalar app: application Avi: Audio Video Interleave B2B: Business to Business DM: Direkt mesaj .edu: education e-posta:Elektronik posta e-ticaret:Elektronik ticaret Fav: Favori Flv: Flash video GB: Giga byte Gif: Graphics Interchange Format HDR: High Dynamic Range MT: Modified tweet Mpeg: Moving Pictures Experts Group (Hareketli Görüntü Uzmanları Birliği) NTEN:Nonprofit Technology Network NFL: Amerikan Futbol Ligi ör.: örneğin RT: Retweet RLRT: Real Life Retweet SDK: Software Developer Kit TV: televizyon TT: Trending Topics VII YAZAR NOTU Sosyal Medya günümüzde kitleleri peşinden sürükleyen toplumlara yön veren bir güç konumundaddır. Bu durum sosyal medyanın kullanıcıları ve üreticileri için yeni bir deneyim ve yeni bir çalışma alanı yaratmaktadır. Bu çalışma ile birlikte, devam eden süreçte sosyal medya alanında yapılacak araştırmalar, ortaya bamabaşka yeni bir medya anlayışı sunacak ve hazırlanacak yeni yöntemlerle toplumsal anlamda gelişmenin yanısıra iletişim alanında yeni bir ivme kazanılması sağlanacaktır. Dr. Öğr. Üyesi Ümit Sarı VIII 1. YENİ MEDYAYA BAŞLARKEN 1 Bu Bölümde Neler Öğreneceğiz? Geleneksel medyadan Yeni medyaya geçiş sürecinde, geleneksel medya ve yeni medyanın birbiriyle olan işkisi, ve yeni medyanın tercih edilme gerekçeleri, yeni medyanın özellikleri üzerinde durulacaktır. Sosyal medyanın birey üzerindeki etkilerine yer verilerek, Sosyal medyanın günümüzde bireyleri nasıl etkilediği anlatılacaktır. 2 Bölüm Hakkında İlgi Oluşturan Sorular 1) Geleneksel Medya kullanımının önemi nedir? 2) Yeni Medya kullanımının önemi nedir? 3) Gelenekselden Yeni Medyaya değişen olgular nelerdir? 4) Sosyal Medya bir bağımlılık unsuru mudur? 5) Sosyal Medyanın bireyler üzerindeki etkileri nelerdir? 3 Bölümde Hedeflenen Kazanımlar ve Kazanım Yöntemleri Kazanımın nasıl elde Konu Kazanım edileceği veya geliştirileceği Geleneksel medya ve Geleneksel medyanın ve yeni Yeni medya medyanın özellikleri Konuyla ilgili yer alan karşılatırılması öğrenilerek, gelişip dönüşen araştırmalarla, global anlamda iletişim süreci üzerinde yetkin sürecin gelişimi izlenecektir. bir birikim sahibi olacaktır. 4 Anahtar Kavramlar Geleneksel Medya Yeni Medya Çokluortam Etikleşim Sanallık Yayılım Hipermetin 5 1.1.Geleneksel Medyadan Yeni Medyaya Dijital medya, enformasyon teknolojileri, bilgisayar dolayımlı iletişim, siber uzam, sanal uzam, sanal gerçek vb. birçok kavram artık gündelik konuşmalarımızda duymaya alıştığımız sözcükler haline geldi. Tüm bu sözcükleri kapsayan, birleştiren kavram “yeni medya” olabilir ve bugün yeni medya dolayımlı iletişim denildiğinde cep telefonları, dijital oyunlar, Internet ortamı, Internet arayüzeyinde sunulan tüm yazılım hizmetleri, i-podlar, PDA’lar üzerinden gerçekleşen iletişim etkinliği kastedilmektedir. Yeni medyanın bu deni hızlı bir şekilde, toplulukları etkilemesi ve popülerleşmesinin aslında en önemli etkeni kuşkusuz, geleneksel medyanın insanlara bilgiyi anında ulaştıramamasından kaynaklanmaktadır. Her ne kadar teknoloji hızlı bir şekilde gelişmiş olsa da, baktığınızda, geleneksel medya araçları olayların üzerinden epey bir zaman geçtikten sonra bilginin kitlelere ulaşabilmesini sağlamaktadır. Geçmişten günümüze baktığımız zaman geleneksel olarak tanımlanan kitle iletişim araçları (radyo, sinema, televizyon) günümüz global dünyasında artık yerini sosyal medya yani bir diğer adıyla yeni medya mecralarına bırakmıştır. Yeni medya beraberinde bir dijitalleşme getirmiş ve bu dijitalleşmede yeni bir dünya düzeni yaratmıştır. Yeni medyayı geleneksel medyadan (gazete, dergi yayıncılığı, radyo, televizyon yayınları ve sinema filmleri) farklılaştıran özellikler ise, dijitallik, etkileşimsellik, hipermetinsellik, yayılım ve sanallıktır. 1 Elbette bunun teknolojik, altyapı ile ilgili nedenlerinin olmasının yanı sıra, politik ve siyasi anlamda da bir takım gerekçeleri olmaktadır. Bu konuyu ilerleyen bölümlerde, zaten daha ayrıntılı bir şekilde inceleyeceğiz. İşte böyle bir ortamda, ortaya çıkan yeni medya insanların çevrimiçi ortamlarda fikirlerini ve düşüncelerini hızlı ve diledikleri şekilde paylaşmalarına imkan sağlayan bir platform olarak karşımıza çıkmaktadır. Yeni medyanın yarattığı değişimin ve dönüşümün, zaman ve mekân kavramlarını farklı tanımlarla birlikte, kişiler arası iletişim süreçlerinden kurumsal
Load more

Recommended publications
  • Touchstones of Popular Culture Among Contemporary College Students in the United States
    Minnesota State University Moorhead RED: a Repository of Digital Collections Dissertations, Theses, and Projects Graduate Studies Spring 5-17-2019 Touchstones of Popular Culture Among Contemporary College Students in the United States Margaret Thoemke [email protected] Follow this and additional works at: https://red.mnstate.edu/thesis Part of the Higher Education and Teaching Commons Recommended Citation Thoemke, Margaret, "Touchstones of Popular Culture Among Contemporary College Students in the United States" (2019). Dissertations, Theses, and Projects. 167. https://red.mnstate.edu/thesis/167 This Thesis (699 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]. Touchstones of Popular Culture Among Contemporary College Students in the United States A Thesis Presented to The Graduate Faculty of Minnesota State University Moorhead By Margaret Elizabeth Thoemke In Partial Fulfillment of the Requirements for the Degree of Master of Arts in Teaching English as a Second Language May 2019 Moorhead, Minnesota iii Copyright 2019 Margaret Elizabeth Thoemke iv Dedication I would like to dedicate this thesis to my three most favorite people in the world. To my mother, Heather Flaherty, for always supporting me and guiding me to where I am today. To my husband, Jake Thoemke, for pushing me to be the best I can be and reminding me that I’m okay. Lastly, to my son, Liam, who is my biggest fan and my reason to be the best person I can be.
    [Show full text]
  • Youtube 1 Youtube
    YouTube 1 YouTube YouTube, LLC Type Subsidiary, limited liability company Founded February 2005 Founder Steve Chen Chad Hurley Jawed Karim Headquarters 901 Cherry Ave, San Bruno, California, United States Area served Worldwide Key people Salar Kamangar, CEO Chad Hurley, Advisor Owner Independent (2005–2006) Google Inc. (2006–present) Slogan Broadcast Yourself Website [youtube.com youtube.com] (see list of localized domain names) [1] Alexa rank 3 (February 2011) Type of site video hosting service Advertising Google AdSense Registration Optional (Only required for certain tasks such as viewing flagged videos, viewing flagged comments and uploading videos) [2] Available in 34 languages available through user interface Launched February 14, 2005 Current status Active YouTube is a video-sharing website on which users can upload, share, and view videos, created by three former PayPal employees in February 2005.[3] The company is based in San Bruno, California, and uses Adobe Flash Video and HTML5[4] technology to display a wide variety of user-generated video content, including movie clips, TV clips, and music videos, as well as amateur content such as video blogging and short original videos. Most of the content on YouTube has been uploaded by individuals, although media corporations including CBS, BBC, Vevo, Hulu and other organizations offer some of their material via the site, as part of the YouTube partnership program.[5] Unregistered users may watch videos, and registered users may upload an unlimited number of videos. Videos that are considered to contain potentially offensive content are available only to registered users 18 years old and older. In November 2006, YouTube, LLC was bought by Google Inc.
    [Show full text]
  • 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.
    [Show full text]
  • Trabajo Fin De Grado
    Trabajo Fin de Grado El fenómeno youtuber, como influencers y creadores de contenido online The youtuber phenomena, as influencers and online content creators Autor Laura Allué de Magdalena Director José Antonio Gabelas Barroso Grado en Periodismo Facultad de Filosofía y Letras 2017 ÍNDICE 1. RESUMEN 2. INTRODUCCIÓN Y JUSTIFICACIÓN DEL TEMA 3. OBJETIVOS E HIPÓTESIS 4. METODOLOGÍA 5. MARCO TEÓRICO 5.1. LOS MEDIOS DE COMUNICACIÓN TRADICIONALES 5.2. EL CONTEXTO DE LA COMUNICACIÓN DIGITAL 5.2.1. EL FACTOR R COMO ELEMENTO EMERGENTE 5.3. LA IMPORTANCIA DE LAS REDES SOCIALES 5.3.1. HÁBITOS DE CONSUMO 5.3.2. YOUTUBE COMO RED SOCIAL 6. CUERPO DEL TRABAJO 6.1. YOUTUBE COMO PORTAL DE VÍDEO ONLINE 6.1.1. ESTADÍSTICAS DE CRECIMIENTO DEL PORTAL 6.1.2. HÁBITOS DE CONSUMO DE VÍDEO EN YOUTUBE 6.1.3. PERFIL DEL CONSUMIDOR 6.1.4. COMPARACIÓN DEL CONSUMO DE YOUTUBE FRENTE A LA TELEVISIÓN 6.1.5. INVERSIÓN PUBLICITARIA EN YOUTUBE Y EN TELEVISIÓN 6.2. LA FIGURA DEL YOUTUBER COMO CREADOR DE CONTENIDO 6.2.1. ¿QUÉ ES UN YOUTUBER? LA PROFESIONALIZACIÓN DE LA PRODUCCIÓN DE VIDEO ONLINE 6.2.2. TEMAS Y GÉNEROS 6.2.3. PRINCIPALES FIGURAS DE YOUTUBE ESPAÑA. 6.2.3.1. ANÁLISIS DEL CANAL “EL RUBIUS OMG” 6.2.3.2. ANÁLISIS DEL CANAL “DULCEIDA” 6.2.3.3. ANÁLISIS DEL CANAL “ROENLARED” 6.3. LA FIGURA DEL YOUTUBER COMO INFLUENCER 6.3.1. INFLUENCIA Y RESPONSABILIDAD PARA CON LAS AUDIENCIAS 6.3.1.1. CASOS DE INFLUENCIA POSITIVA 6.3.1.2. CASOS DE INFLUENCIA NEGATIVA: YOUTUBERS TÓXICOS 6.3.2.
    [Show full text]
  • Youtube Report Draft V4
    MONDAY, JULY 16 YouTube & News A new kind of visual journalism FOR FUTHER INFORMATION: Tom Rosenstiel, Director, Pew Research Center’s Project for Excellence in Journalism Amy Mitchell, Deputy Director, Pew Research Center’s Project for Excellence in Journalism (202) 419-3650 1515 L St, N.W., Suite 700 Washington, D.C. 20036 www.journalism.org YouTube & News: A New Kind of Visual Journalism Introduction On March 11, 2011, an earthquake registering 9.0 on the Richter scale struck the coast of northeastern Japan, triggering a tsunami that would kill more than 18,000 people and leave an estimated $180 billion in damage. The news media worldwide provided extensive coverage of the disaster and its aftermath, but millions of people also turned to the web to learn about the event on the video sharing website YouTube. 1 In the seven days following the disaster (March 11-18), the 20 most viewed news-related videos on YouTube all focused on the tragedy—and were viewed more than 96 million times. What people saw in these videos also represented a new kind of visual journalism. Most of that footage was recorded by citizen eyewitnesses who found themselves caught in the tragedy. Some of that video was posted by the citizens themselves. Most of this citizen-footage, however, was posted by news organizations incorporating user-generated content into their news offerings. The most watched video of all was shot by what appeared to be fixed closed-circuit surveillance camera at the Sendai airport. Link: http://www.youtube.com/watch?v=-DSSssHxm4Y The disaster in Japan was hardly a unique case.
    [Show full text]
  • The Electrical Transformation of the Public Sphere: Home Video, the Family, and the Limits of Privacy in the Digital Age
    THE ELECTRICAL TRANSFORMATION OF THE PUBLIC SPHERE: HOME VIDEO, THE FAMILY, AND THE LIMITS OF PRIVACY IN THE DIGITAL AGE By Adam Capitanio A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY American Studies 2012 ABSTRACT THE ELECTRICAL TRANSFORMATION OF THE PUBLIC SPHERE: HOME VIDEO, THE FAMILY, AND THE LIMITS OF PRIVACY IN THE DIGITAL AGE By Adam Capitanio One of the constituent features of the digital age has been the redrawing of the line between private and public. Millions of social media users willingly discuss intimate behavior and post private photographs and videos on the internet. Meanwhile, state and corporate bodies routinely violate individual privacy in the name of security and sophisticated marketing techniques. While these occurrences represent something new and different, they are unsurprising given the history of home and amateur media. In this dissertation, I argue that contemporary shifts in the nature of the public/private divide have historical roots in the aesthetics and style found in home movies and videos. In other words, long before Facebook and YouTube enabled users to publicly document their private lives, home movies and videos generated patterns of representation that were already shifting the unstable constitution of the “private” and the “public” spheres. Using critical theory and archival research, I demonstrate how home moviemakers represented their families and experiences in communal and liminal spaces, expanding the meaning of “home.” When video become the predominant medium for domestic usage, home mode artifacts became imbricated with television, granting them a form of phantasmagoric publicity that found fulfillment in the digital era.
    [Show full text]
  • Making a Home on Youtube
    IN THIS CHAPTER » Understanding the importance of being on YouTube » Becoming a viral video star » Making your channel unique » Producing video for fun and profi t Chapter 1 Making a Home on YouTube ouTube is the new business-and-entertainment frontier, which means there’s as much excitement and creativity associated with creating and Ymanaging a YouTube channel these days as was the case during the early days of television, when the sky seemed the limit. YouTube — like television before it — is caught up in the same adventure that comes from defi ning its target audience as well as fi nding out what audiences are willing to watch. For television, the adventurous nature of its early endeavors could be traced to the fact that TV was so new that audiences really didn’t know what they wanted. For YouTube, working in today’s market, it’s much more about meeting the diverse interests and needs of an audience that attracts more than a billion people from all over the planet. AnyoneCOPYRIGHTED who wants to show off their videoMATERIAL prowess or share their vision with the world can hang a virtual shingle on YouTube by starting their own channel. Of course, when television began, we humans had more toes than the TV had chan- nels. These days, YouTube has billions of users. That makes running a successful YouTube channel seem a bit more daunting. CHAPTER 1 Making a Home on YouTube 9 1.indd 9 Trim size: 7.375 in × 9.25 in July 15, 2020 6:00 PM Having more than 2 billion monthly active users can make getting noticed on your channel feel like searching for a virtual needle in an online haystack.
    [Show full text]
  • The Passive Collection of Children's Information Online
    An Unfair Game of Virtual Hide-and-Go-Seek: The Passive Collection of Children’s Information Online Andrea Korajlija J.D. Candidate, 2021 Faculty of Law, Common Law Section University of Ottawa The Interdisciplinary Research Laboratory on the Rights of the Child (IRLRC) University of Ottawa 2019-2020 Undergraduate Essay Competition Winning Essay 2020 Canadian Journal of Children’s Rights Table of Contents I. NO HIDING, ALL SEEKING .................................................................................................. 5 II. THE PARADOXICAL PARENT: PROTECTOR AND DILUTER....................................... 5 III. HOW CHILDREN’S ONLINE DATA IS CONCEIVED ...................................................... 7 1. PARENTS ARE ENGAGED IN ONLINE “SHARENTING” OF THEIR CHILDREN ................................... 7 2. PARENTS USE MOBILE APPLICATIONS TO MANEUVER PREGNANCY AND PARENTHOOD ............ 10 IV. SOLUTIONS FOR YOUNG DIGITAL CITIZENS ............................................................ 12 1. ENACTING PRIVACY LEGISLATION SPECIFIC TO CHILDREN ....................................................... 13 2. EXPLICITLY INFORMING AND WARNING PARENTS OF PASSIVE COLLECTION ............................ 14 V. ACHIEVING A FAIR GAME OF VIRTUAL HIDE-AND-GO-SEEK ............................... 15 VI. REFERENCES ..................................................................................................................... 24 2020 Canadian Journal of Children’s Rights I dedicate this paper to Ruby Kerr, so that all children like her may flourish in the digitalized world, as her father would have wanted. 2020 Canadian Journal of Children’s Rights 1 … 2 … 3 Let’s play a game of virtual hide-and-go seek 4 … 5 … 6 The children will hide 7 … 8 … 9 And we will seek 10 Ready or not, here we come 2020 Canadian Journal of Children’s Rights NO HIDING, ALL SEEKING Today, there is no place for a child to hide online – they have a digital footprint before they can walk and an audience before they can see.
    [Show full text]
  • The Rise of Viral Videos
    The Rise of Viral Videos Erika Clingerman Graphic Communication Department College of Liberal Arts California Polytechnic State University 2013 2 Table of Contents Abstract ................................................................................................................................1 Chapters 1. Purpose of the Study ....................................................................................................5 Significance of Study ...............................................................................................6 Interest in Study .......................................................................................................7 2. Literature Review.........................................................................................................8 History......................................................................................................................8 How a Video Goes Viral ........................................................................................10 Life After a Viral Video .........................................................................................12 Impact of Viral Videos...........................................................................................13 3. Methodology ..............................................................................................................14 Data Collection Plan ..............................................................................................14 Data Analysis Plan .................................................................................................14
    [Show full text]
  • Music on Youtube: User Engagement with Traditional, User-Appropriated and Derivative Videos ⇑ Lassi A
    Computers in Human Behavior 50 (2015) 108–124 Contents lists available at ScienceDirect Computers in Human Behavior journal homepage: www.elsevier.com/locate/comphumbeh Music on YouTube: User engagement with traditional, user-appropriated and derivative videos ⇑ Lassi A. Liikkanen a, , Antti Salovaara b a Helsinki Institute for Information Technology HIIT, Aalto University, PO Box 15600, FI-00076 Aalto, Finland b School of Business, Aalto University, PO Box 21220, FI-00076 Aalto, Finland article info abstract Article history: YouTube is the leading Internet video service and one of the most popular websites in 2014. Music videos Available online 17 April 2015 hold top positions in different YouTube charts, but the music video types or engagement patterns with them have not been systematically studied. In this paper we present three studies that focus on Keywords: YouTube music. We first show that music videos are the most popular content genre in YouTube. We then Digital music present a typology of traditional and user-generated music videos discovered in YouTube. It includes YouTube twelve subtypes of music videos under three main types: traditional, user-appropriated, and derivative. Music interaction Last, we present findings on user engagement statistics that go beyond view, comment, and vote counts. Appropriation These metrics show that while music videos gather more views, engagement differences with other Music listening content genres are miniscule. However, there are notable differences in engagement between different music video types. This is prominent between different artists on one hand, and between traditional and user-generated videos on the other. We synthesize these findings by discussing the importance of user-generated videos in YouTube’s music ecosystem.
    [Show full text]
  • Television's Business Model Fit for a Digital World
    Television’s business model Fit for a digital world Contents Foreword 1 About the research 2 Subscription video-on-demand: a complement, competitor and a channel 4 Broadcast sports rights: looking ahead to 2015 10 Television should not go short on long-form 14 Innovation: can the television industry compete? 20 Recent thought leadership 24 Contacts 25 Endnotes 26 Foreword Television appears assailed by a range of digital challengers: how is it faring in this environment? This report assesses television’s current performance and outlook given the following developments: • The rise of subscription video-on-demand (SVOD) providers: will the broadband networks enable the disintermediation of the traditional ad-funded or pay TV broadcaster? • Sports: does the rise of the Internet and the abundance of sports related information available from the Web, challenge television’s primacy as the principal source of premium sports content? • Video clips: as the most popular clips now attain ‘viewing figures’ in the billions, is short-form video content finally toppling the traditional (thirty or sixty minutes) programme length? • Innovation: technology companies seem to dominate when it comes to innovation, launching a range of headline-grabbing products and services. Today, few TV broadcasters have sizeable research and development departments. Can the TV industry compete in the race to innovate? Deloitte’s assessment of each of these areas suggests that television remains in fine health, and its near-term outlook remains positive. SVOD is growing fast, but is currently less than two per cent of the European pay TV market, and an even smaller share of all TV revenues in the region.
    [Show full text]
  • Online, on the Couch, Or on the Move: the Contours of the Evolving
    Online, On the Couch, or On the Move: The Contours of the Evolving Video Market. Morgan Taylor Kate Stirling Econ 411 December 20th, 2013 2 Abstract This paper examines the impact of YouTube on the video content market. Previous research is examined to determine the scope of the online migration thus far and its effect on the traditional video market (television). Analysis of YouTube’s user data and earnings reveals that YouTube has a monopolistically competitive market structure. YouTube’s user-friendly environment grants consumers greater control over when, how and what they watch. As the leader of the online market, research indicates YouTube’s competitive characteristics are moving the larger media market to a more competitive environment in which consumers are given a larger range of media options at lower prices. Keywords: YouTube, online video market, Media market, oligopoly, monopolistic competition, user-generated content, branded-content 3 Introduction Remember that time when we all gathered around the family TV and watched that one show almost everyone else in America with a TV was watching? Neither do I. The times in which everybody watched the same small handful of programs ended decades ago. The home- viewing audience became fragmented with the advent of cable TV, and then even more so with the arrival of online viewing platforms such as YouTube, Netflix and other online sites (both legal and otherwise). These technological innovations have given consumers more power over what, when and how they watch video content. They are no longer bound to the schedule printed in the weekly TV guide.
    [Show full text]